American  Dramatists  Series 

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American  Dramastists  Series 

THE 

LITTLE  MOTHER 

OF  THE  SLUMS 

And  other  plays  by 

EMILY  HEREY  DENISON 


BOSTON:  THE  GORHAM  PRESS 

TORONTO:    THE   COPP   CLARK   CO,,    LIMITHD 


P^"^i!^">»"^^P"W"i^^"»i^^» 


Copyright,  1915,  by  Emily  Herey  Denison 


All  Rights  Reserved 


Tub  Gorkam  Fiuws,  Boston^  U.  8.  A. 


This  little  volume  is  dedicated 
with  loving  devotion 

to 
J.  F.  D.  and  J.  H.  D. 


372215 


CONTENTS 

The  Little  Mother  of  the  Slums 1 1 

The  Yeggman    39 

Duped    55 

My  Friend's  in  Town 75 

The  Mystery  of  Beacon  Hill 89 

Dolly  Madison's  Afternoon  Tea 1 07 

The  Dawn  of  Music 127 


THE  LITTLE  MOTHER  OF  THE  SLUMS 
A  PLAY  IN  ONE  ACT 


SCENE — A  caucus  is  being  held  comprising  the 
chairman  of  the  City  Central  Committee  of  The 
Fusion  Party  and  its  advisers.  It  is  attended  by 
the  President  of  the  Consolidated  Aluminum  Com- 
pany, The  General  Manager  of  The  Street  Rail- 
way Company,  The  President  of  The  Redfern  Dry 
Goods  Company,  and  The  Executive  Committee- 
man of  the  Fourth  Ward  City  of  Cheltenham. 

They  are  joined  later  by  a  committee  of  ladies. 


DRAMATIS  PERSONAL 

John  Garrison^  President  of  the  Consolidated 
Aluminum  Company. 

Marcus  Shaw^  General  Manager  of  the  Street 
Railway   Company. 

Philip  O'Shea^  Owner  of  the  Redfern  Dry 
Goods  Company. 

Thomas  McKee^  Chairman  City  Central  Com- 
mittee.  Fusion  Party. 

Michael  McGraw^  Executive  Committee-man, 
Fourth  Ward. 

"Davy''  Smith^  Negro  Porter. 

Mrs.  John  Garrison,  Wife  of  President  of 
Consolidated. 

Mrs.  Marcus  Shaw,  Wife  of  the  Manager  of 
Street  Railway. 

Mrs.  Philip  O'Shea,  Mother  of  Owner  of  the 
Redfern  Dry  Goods  Company. 

Miss  Mildred  Chandler,  A  Settlement  Work- 
er.   Factory  Inspector. 

Patsy  Campion,  The  Little  Mother  of  the 
Slums. 


COSTUMES 

Gentlemen  in  evening  dress,  except  McKee  and 
McGraw  who  wear  business  dress. 

Mrs.  Garrison  and  Mrs.  Shaw  and  Mrs.  0*Shea 
in  evening  costumes. 

Miss  Chandler  in  street  suit  and  The  Little 
Mother  of  the  Slums  in  the  gray  costume  of  a 
Visiting  Nurse,  wearing  pearl  gray  bonnet  and  veil, 
and  soft  white  muslin  collar  and  cuffs. 

PLACE 

The  palatial  office  of  the  Consolidated  Aluminum 
Company. 

A  handsome  office  furnished  in  mahogany,  large 
table  at  center. 

TIME 

The  evening  of  the  dinner  dance  at  the  Silver 
Bow  Club. 


The 
Little  Mother  of  the  Slums 

SETTING 

Garrison  is  seated  at  desk  writing.     {He  presses 
a  bell  and  the  negro  porter  enters.) 

Davy 
Did  you  ring  sah? 

Garrison 
Yes.     Some  gentlemen  will  call  later.    Let  them 
in  by  card  only.     Here  is  the  list.      {Hands  slip 
of  paper  to  Davy.) 

Davy 
{Placing   chairs   around   table.)      Quite   a  com- 
pany Marse  Garrison. 

Garrison 
{Looks  up  from  work.)     Yes,  politics  again  and 
then  more  politics. 

Davy 

Dey  was  a  lady  heah  to  see  you  to-day.     Had  a 
hard  time  to  make  huh  go  away. 

Garrison 
What  did  she  look  like? 
Davy 
Oh,  she  was  putty.    She  was — Oh  you  know  dat 
little  lady  dat  come  heah  two  days  ago. 
II 


12  LITTLE  MOTHER  OF  THE  SLUMS 

Garrison 
(Looking  a  hit  disturbed,)     Umph!    U — m  Yes, 
Yes.     There,  go  now. 

Davy 
(Starts  for  door,  just  then  bell  rings.     He  goes 
out  into  hall  J  then  enters  and  stands  beside  door,) 
Deh   gemmen  are  heah  suh! 

(Enter   Tom   McKee,  Shaw,   O'Shea  and  Mc- 
Graw.) 

McKee 
Hello    Garrison,    have    we    kept    you    waiting? 
(Shakes  hands.) 

Garrison 
No,   Oh  no.      Sit  there.      (Pointing  to  chair  at 
head  of  table.)      Here,   Mr.   Shaw.      (Points  out 
places  for  others.) 

Shaw 
Thanks.     And  now  let  us  get  down  to  business 
as  soon   as  possible. 

Garrison 
Hello  Philip.    Glad  to  see  you.  (Goes  to  Philip.) 
Going  to  the  dinner  dance  too? 
Philip 
Yes.     I   promised   to  take  mother  over  after   I 
left  here.     (Leans  against  desk.) 
Garrison 
Take  this  chair  McGraw. 

McGraw 
All  right.     Glad  to  be  near  the  big  chief.    (Sits 
next   to   McKee.) 

Garrison 
(Out  in  front.)     Come  and  join  us  Philip? 


LITTLE  MOTHER  OF  THE  SLUMS  13 

Philip 
No  thanks,  I  want  to  smoke. 

McKee 
Well  then  the  business  before  us,  now  that  we 
have  decided  to  run  a  Fusion  ticket,  is  to  devise 
ways  and  means  to  elect  it.  As  you  all  know  it 
takes  money  to  run  a  campaign.  I've  got  to  see 
some  pretty  soon  now.  We  need  workers,  printing, 
carriages  and  autos  as  well  as  clerical  help  and  rent 
for  headquarters. 

Garrison 
In  your  judgment,   how  much   is  needed   to  do 
the  work  of  the  campaign  ? 

McKee 
(Carelessly.)     About  one  hundred  thousand. 

Shaw 
Oh  ridiculous  Tom,  half  of  that  should  do. 

McGraw 
Well,  campaigns  come  higher,  Mr.  Shaw,  than 
franchises  from  the  people.     The  only  thing  that 
is  gotten  for  nothing  in  this  town,  is  a  franchise. 

Shaw 
(A  little  heated.)     Look  here  McGraw.     The 
City  Railway  pays  more  to  each  campaign  and  to 
the  welfare  of  this  city  than  any  other  concern  here. 

McGraw 
But  how  much  do  you  get  back?  Just  about  two 
hundred  per  cent,  on  every  dollar  invested  here. 
You  pay  fifteen  thousand  dollars  for  the  music  in 
the  parks  for  three  months  during  warm  weather 
and  if  your  books  were  shown  they  would  show  a 
gross  earning  of  three  hundred  thousand  on  the 
park   car  lines   alone!     Now   the   public  are   not 


14  LITTLE  MOTHER  OF  THE  SLUMS 

wasting  any  more  affection  on  you  than  you  have 
ever  showered  on  them.  And  if  you  expect  to  get 
any  favors  you  had  better  come  through,  for  this 
Fusion  crowd  are  the  only  bunch  that  will  give  you 
a  look  in. 

McKee 
Oh  no,  not  so  bad  as  that  is  it  Mike? 

McGraw 
Sure. 

Philip 
Well  what  you  say  is  not  true  of  all  the  wards, 
is  it  McGraw? 

Garrison 

Well  you'll  always  find  discontent  among  certain 

classes,  and  the  thing  to  do  is  to  elect  this  ticket 

and  get  confidence  again  in  business  circles.     This 

agitation  is  bad  and  the  less  we  have  of  it  the  bettci. 

McKee 
That's  my  idea!  Cut  the  agitation  short  and  get 
it  over  with  by  having  a  short  campaign.  But  it 
must  be  a  whirlwind  one!  But  if  I  am  to  get  re- 
sults, I  must  have  the  coin.  So  I'll  just  jot  down 
what  each  of  you  fellows  will  put  up.  Let's  have 
your  amount,  Philip. 

Philip 
Well  business  is  slow  with  us  now,  and  I  don't 
know  as  I  am  prepared  to  say,  perhaps  a  couple 
of  thousands. 

McKee 
No,  won't  do.    We  expect  the  Redfern  people  to 
put  up  at  least  ten. 

McGraw 
Sure,   that's  reasonable.     Why  here,   Tom  has 


LITTLE  MOTHER  OF  THE  SLUMS  15 

assessed  our  candidate  for  congress  five  thousand. 

Garrison 

Will  he  pay  it? 

McGraw 

No,  he  has  given  notice  that  he  will  not  pay  one 
cent  of  it.  His  statement  will  appear  in  the  Morn- 
ing News,  defending  his  course  against  what  he 
considers  "squeezing  by  the  big  fellows."  He  will 
say  "I'll  go  straight  to  the  people.  They  must  elect 
me  by  their  votes,  and  they  ought  to  have  my  con- 
fidence." {Winks  significantly,)  See!  And  they'll 
all  vote  for  him  too!  Don't  lose  sight  of  his  posi- 
tion as  the  yellow  dog.  His  argument  to  be  sure. 
But  he  believes  he  is  being  held  up  for  the  benefit 
of  the  Railway  Company  and  the  "big  business" 
and  if  Philip  here  can  only  give  two  thousand  to 
get  clean  government,  why  it  does  look  like  "make 
the  little  fellovs^  pay  the  bills."  Now  don't  mis- 
understand me.  I  haven't  changed  my  position  any. 
I  am  here  to  tell  you  as  far  as  possible  what  the 
people  think  and  I  meet  them  every  day,  on  the 
street  corners,  in  the  tenements  and  in  the  cafes. 
They  are  ready  to  follow  any  leader  even  if  he  is 
a  yellow  dog,  and  they  know  he  is  one,  just  so  they 
can  hit  back  at  the  "Interests."  {Walking  about,) 
McKee 

Mike  is  right.  This  is  going  to  be  a  peculiar 
campaign  and  we  must  take  the  position  of  the 
trader  not  the  dealer.  But  to  the  business  at  hand. 
How  much  will  the  Aluminum  Consolidated  give? 

Garrison 
(Cooly.)    We  will  give  fifty  thousand.    It  is  too 
much  for  our  one  company  to  stand,  but  we  prefer 


i6  LITTLE  MOTHER  OF  THE  SLUMS 

{McKee  writes)    to   get  easy   concessions   and   no 
kicks  coming. 

McKee 
Well  Philip — ten  thousand  for  you? 

Philip 
Oh  I  suppose  it  goes. 

McKee 
No  squealing  you  know.     It's  all  in  the  game. 
{Writes.)     Shaw  what  does  the  City  Railway  do? 
Shaw 
We — 11,    I — {He  begins  slowly,   then  McGraw 
put   in.) 

McGraw 
Fifty    thousand,    not   a   cent   less.      Those   easy 
nickels  from  the  widows  and  little  working  girls 
as  our  friend  the  congressman  will  tell  the  people. 
Shaw 
(Showing  some  temper.)     And  now  Mike,  what 
will  your  ward  do,  I  mean  The  Row.     {McGraw* s 
lips    tighten    and    his    brow    wrinkles.)     Ha!    Ha! 
You  don't  talk  so  fast  now,  not  so  chesty,  eh  Mike? 
{All  turn.) 

McGraw 
{Is  at  back  center,  folds  arms,  speaks  cooly  and 
slowly.)     Not  a  cent,  this  time.     (Very  deliberate- 
ly.)     There'll  not  be  a  dollar  coming  this  time, 
only  my  personal  donation! 

McKee 
Oh  hold  up  McGraw!  This  is  not  a  Sunday- 
school  excursion  we  are  planning.  This  is  to  help 
run  a  campaign  and  win  an  election.  Those  fellows 
down  there,  and  women  as  well  as  men,  know  well, 
that  they  have  had  favors.    It's  up  to  them  to  come 


LITTLE  MOTHER  OF  THE  SLUMS  17 

through.    You  should  have  little  trouble  in  getting 
your  assessments. 

Show 
Of  course  he  won't.     Those  people  ought  to  be 
made  to  understand  a  business  proposition. 

McGraw 
They  very  vv^ell  understand  a  business  proposition ; 
but  they  don't  understand  what  this  city  calls 
a  square  deal.  They  understand  that  it  is  the  busi- 
ness of  the  District  Attorney  to  pinch  them  and 
close  up  their  business  if  they  don't  come  through. 
But  they  don't  quite  see  why  he  should  do  it  for  the 
benefit  of  the  Consolidated,  or  the  City  Railway 
or  the  Redfern  Dry  Goods  Company,  when  they 
only  ask  to  sell  their  goods,  the  same  as  you  fellows, 
and  pay  for  the  privilege  besides. 

O'Shea 
But  they  are  carrjang  on   a  nefarious  business. 

McGraw 

{Carelessly.)  Oh  not  much  more  than  you  do. 
The  little  girl  who  works  in  your  store  for  five 
dollars  a  week  finds  it's  impossible  to  do  it  and 
keep  honest.  So  she  steals  and  you  have  her  arrested. 
She  is  disgraced  and  she  can  no  longer  mix  with 
eminently  respectible  people  like  you.  So  she  comes 
down  and  lives  in  my  part  of  the  town.  No  ques- 
tions are  asked  there,  but  there  has  been  a  good 
deal  of  talking  and  teaching  going  on  there  lately. 
McKee 

Well,   have  they  flatly  refused?      {Roughly.) 

McGraw 
Yes!     {Heatedly.) 


1 8  LITTLE  MOTHER  OF  THE  SLUMS 

McKee 
Well,  we'll  just  have  the  District  Attorney  send 
one  of  his  special  officers  in  the  morning  and  give 
them  a  tip  of  what  may  happen,  if  they  don't  get 
in  line.      {Brings  fist  down.) 
McGraw 
{At  end  of  table.)     If  you  do  I'll  see  to  it  myself, 
that  he'll  need  both  a  surgeon  and  a  beauty  {strikes 
fist)    doctor    after    he    gives    them    your    message! 
{This  speech  causes  much  intense  surprise.) 
McKee 
Well,  we'll  throw  the  whole  bunch  in  the  Bull- 
pen!    {Rises,  shows  anger.) 

Garrison 
Steady  now.     Just  what  has  started  this  defiance 
to   the  custom  that  they  pay  for  their  protection. 

McGraw 
A  sense  of  justice  and  a  square  deal.     They  have 
thrown  of¥  all  fear  and  whether  you  jail  them  or 
let   them   alone,   they  won't  vote  your  ticket  any 
way! 

All 
What ! — Absurd ! — Tommyrot ! 

McGraw 
The  women  of  the  district  will  not  register  and 
the  saloon  keepers  are  going  to  vote  as  they  please. 
They  have  been  keeping  well  within  the  law  and 
everything  is  orderly  in  the  district.  The  factory 
girls  will  vote  as  Miss  Chandler  advises,  and  the 
fallen  women  will  stay  at  home  to  please  The  Little 
Mother  of  the  Slums. 


LITTLE  MOTHER  OF  THE  SLUMS  19 

McKee 

This  is  madness!     {Excitedly.)     Something  must 
be    done!      I    knew   that   woman-factory   inspector 
would  do  a  world  of  mischief,  and  ought  never  to 
have  been  appointed.    But  who  is  this  other  woman  ? 
McGram 
A  woman  with  brains  and  beauty.     {Reverently.) 
With  a  message  and  a  past! 
McKee 
Oh   we   can   look   into   her   case.      Perhaps   she 
has  no  visible  means  of  support.    I'll  let  the  District 
Attorney  investigate  her  case. 
McGraw 
But  she  has.     {Coolly.)     She  has  beat  you  to  it. 
She  is  one  of  the  Visiting  District  Nurses,  and  is 
paid  a  salary  by  the  Visiting  Nurses'  Association. 
McKee 
I  wonder  how  that  organization  is  supported? 

Garrison 
By  public  subscription.    My  company  pays  $5,000 
a  year. 

Shaw 
The  Street  Railway  Company  pays  $3,000  a  year. 

McKee 

{Gives  a  low  whistle.  With  fine  scorn.)  Well 
you  fellows  are  mutts.  You  ought  to  be  asked  to 
run  this  campaign.  Don't  you  realize  that  you  are 
contributing  to  some  of  the  biggest  opposition  we 
have  to  overcome  in  political  campaigns!  {Brings 
fist  down  with  air  of  disgust.) 
Garrison 

{Showing  much  astonishment.)     Why  that  is  one 
of  my  wife's  pet  charities! 


20  LITTLE  MOTHER  OF  THE  SLUMS 

Shaw 
(Crusty.)     Mine,  too.     But  they'll  get  no  more 
from  me! 

McGraw 
Oh  I  think  they'll  manage  to  worry  along  with- 
out either  of  your  donations.     But  the  women  are 
in  this  campaign,  and  in  it  to  stay!     {Carelessly  to 
McKee.)     Better  make  note  of  that,  Tom. 

McKee 
Well  I  don't  believe  in  paying  any  attention  to 
them. 

Philip 

Neither  do   L     Better  put   the  steam-roller  on 
them.     ( This  brings  a  laugh. ) 
Shaw 

Oh  they're  like  the  old  cat.  They'll  come  back. 
But  I'm  for  denying  them  every  plea  they  make. 
They  are  getting  to  be  a  nuisance!  (Shakes  him- 
self.) 

McKee 

Gentlemen  that's  easier  said  than  done.  Why 
I've  given  half  of  my  time  all  this  week  hearing  the 
petitions  from  the  one  hundred  and  one  women's 
organizations.  And  they  seem  more  persistent  than 
ever  before  in  all  my  experience  as  chairman.  And 
they  are  the  best  women  in  this  city  too. 
McGraw 

Of  course  they  are.  They  are  well  fortified,  for 
they  are  well-organized.  They  know  what  they 
want  this  time,  and  while  they  are  not  threatening, 
they  are  confident. 


LITTLE  MOTHER  OF  THE  SLUMS  21 

Philip 

Oh  you  fellows  attach  too  much  importance  to 

these  women.     Brush  them  aside,  tell  them  you  are 

sympathetic,  treat  them  courteously,  and  pitch  their 

petitions  in  the  waste  basket. 

Shaw 

That's  what  I  say.     Don't  receive  them  Tom. 

McKee 
{A  little  heated.)  Oh  you  two  talk  like  kinder- 
gartners!  Why  I  have  forgotten  more  about  run- 
ning campaigns  than  you  will  ever  know!  And  I 
know  what  I  am  talking  about  when  I  tell  you  that 
such  tactics  will  never  do! 

Garrison 
Well  Tom,  just  what  do  they  want? 

McKee 
{McGraw  and  Philip  draw  nearer.)  They  want 
a  woman  nominated  for  Commissioner  of  Social 
Welfare;  whose  duties  shall  be  to  look  after  the 
schools,  the  poor,  the  city  hospital  and  poor  farm, 
the  duties  of  Coroner,  the  library,  playgrounds  and 
public  health.  {All  show  astonishment,  then  shake 
their  heads  ''no.*^) 

Shaw 
Oh  the  fool  women!    They  have  too  much  time 
to  think! 

McKee 
Next, — they   want   the   restricted   district  closed 
and  a  hospital-home  provided  by  the  City  to  care 
for  the  sick  and  afflicted  inmates,  until  cures  are 
affected   and   normal   living   restored.     Third — 
All 
Is  there  more!!!! 


22  LITTLE  MOTHER  OF  THE  SLUMS 

McKee 

That  a  Vice  Commission  shall  be  appointed  by  the 
mayor  as  soon  as  he  takes  office,  consisting  of  five 
members  two  of  whom  shall  be  women,  whose  duties 
it  shall  be  to  work  for  the  social  uplift  of  the  city. 
The  women  members  to  look  after  the  conditions 
and  wages  of  working  women,  and  to  censor  bill- 
boards, picture  houses  and  dancehalls,  and  prepare 
various  amusements  in  the  parks.  Also  one  half 
the  appointive  positions  under  the  Vice  Commission 
to  be  given  women,  and  women  censors  be  ap- 
pointed for  picture  houses,  theatres,  billboards  and 
public  baths. 

All 

Never !     Never ! 

McGraw 

Ha!     Ha!     Hurrah  for  the  women! 

McKee 

Well  let's  take  a  vote  on  this.  It  is  well  to 
remember  that  the  women  cast  46  per  cent,  of  the 
vote  in  this  city,  so  I  hope  you  will  all  be  as  temper- 
ate in  thought  as  possible.  Register  your  vote  by 
"aye"  and  "nay"  as  I  call  upon  you:  .  .  .  . 
Garrison ! 

Garrison 
(Rising  very  pompously.)      No. 

McKee 
Shaw! 

Shaw 
(Rises  so  mad  he  is  stuttering.)      I — I — I  vote 
NO!!! 

McKee 
Philip? 


LITTLE  MOTHER  OF  THE  SLUMS  23 

Philip 
{Hesitates,  speaks  thoughtfully.)      N-0-0. 

McKee 
McGraw 

McGraw 
{Coming  front  J  all  are  standing  and  turn  as  he 
hesitates.     Then  in  clear  voice.)     I  vote  "aye!" 
Shaw 
This  is  treason  to  your  best  and  oldest  friends! 

McKee 
McGraw,  your  heart  is  voting  now,  better  not 
let  me  record  that  till  to-morrow,  when  your  head 
will  be  more  in  evidence. 

McGraw 
No!     No!     Record  my  vote  "aye"  now! 

Garrison 
{Very  easily.)      Mr.  McGraw,  will  you  permit 
me  to  ask,  why  you  entered  this  caucus? 

McGraw 
Sure !    I  came  on  the  invitation  of  the  City  Chair- 
man,  and  for  the  purpose  of  expressing  my  con- 
victions!    {All  sit  except  McGraw.) 

Shaw 
Don't  you  think  McGraw,  that  this  conference 
has  the  best  interests  of  the  City  at  heart  as  well 
as  those  emotional  women? 

McGraw 

I  do  not.  I  know  men  and  so  do  you.  And  I 
know  a  great  many  of  those  good  women.  I  never 
could  look  into  a  good  woman's  face  again,  if  I  did 
not  support  their  unselfish  labor  in  the  interest  of 
humanity.      {Bell  rings.) 

{Enter  Davy.) 


24  LITTLE  MOTHER  OF  THE  SLUMS 

Davy 

Marse  Garrison!  Marse  Garrison!  {Eyes  roll- 
ing.) Dey's  ladies  out  dar!  Oh  Lawd,  lots  of 
dem!  {All  rise,  jostle  chairs  in  excitement.  Garri- 
son motions  silence.)  Go  back  Davy  and  find  out 
their  business  and  bring  in  their  cards.  {Philip 
strolls  up  stage  rubbing  his  hands  over  his  hair  to 
see  if  part  is  straight.  Shaw  rushes  to  mirror  in 
hat  rack  and  adjusts  his  tie.  Garrison  lounges  in 
his  armchair  and  adjusts  his  trousers  over  his  shoe- 
tops.  Takes  out  handkerchief  and  dusts  his  shoul- 
ders. McGraw  takes  a  position  of  indifference  with 
elbow  on  top  of  roll-top  desk  up  left  front,  ivhile 
McKee  who  has  kept  his  position  at  head  of  table 
has  taken  out  a  mirror  and  is  combing  his  hair.) 
McGraw 

You're  all  out  of  sight!  {Much  amused.)  Ha! 
Ha! 

Davy 

{Returns  more  frightened  than  before.  He  places 
cards  on  table  before  Garrison  and  backs  away 
toward  right  entrance.  Garrison  takes  up  a  card. 
Reads.  Then  puts  it  closer  to  eyes  as  if  he  had  not 
read  aright.)     Mrs.  Marcus  Shaw! 

Shaw 
{Leaning  with  hands  on  end  of  table  stammers 
breathlessly.)      My  Wife! 

Garrison 
{Reading  another.)     Mrs.  Philip  O'Shea. 

Philip 
Impossible.     Why  even  now,  mother  is  at  home 
waiting  for  me  to  take  her  to  the  ball! 


LITTLE  MOTHER  OF  THE  SLUMS  25 

Garrison 

(Taking  the  other  card,  holds  it  out  in  his  hand 
as  if  he  can  not  believe  his  eyes.)  Well  here  is, — 
and — and — my  wife!  {He  sits  back  in  chair.) 
What-t-t.  (Gasps.)  What  is  the  conspiracy!  Admit 
them  Davy.  (  They  watch  the  door  intently.  Philip 
partly  up  stage.  McGraw  has  strolled  to  Right 
back  and  Shaw,  McKee  and  Garrison  are  at  table. 
As  the  ladies  enter  they  stand.  Garrison  has  been 
at  front  of  table  so  he  meets  Mrs.  O'Shea,  who 
comes  in  first.  He  shakes  her  hand.  McKee  goes 
to  meet  Mrs.  Garrison  leading  her  to  head  of  table. 
Philip  takes  Mrs.  Shaw  to  a  chair,  while  McGraw 
remains  up  stage.) 

Philip 

Mother,  you  are  getting  giddy!  (She  passes  up 
front.) 

McKee 

Ladies  this  is  a  great  honor.  Please  make  your- 
selves at  home. 

Mrs.  Garrison 
We  learned  that  you  gentlemen  were  in  caucus 
and  we  have  come  to  make  some  requests  and  lay 
some  of  the  women's  plans  before  you.  I  am  not 
speaking  of  my  personal  views  alone,  I  speak  for 
the  thousands  of  women  voters  and  citizens  of  this 
city,  whom  I  am  privileged  to  represent  here. 
(Turning  to  McKee.  He  is  all  attention.)  Mr. 
McKee,  the  women  of  Cheltenham  want  a  woman 
nominated  for  Commissioner  of  Social  Welfare  and 
we  have  come  to  discuss  a  candidate  whom  we  favor, 
with  you. 


26  LITTLE  MOTHER  OF  THE  SLUMS 

Mrs.  Shaw 
We  think  we  have  selected  one  of  the  best-fitted 
women  of  all  in  our  city  to  elect  to  so  important 
a  place,  Mrs.  William  Wetmore,  the  banker's  wife. 
{All  exchange  significant  looks.) 
Mrs.   O'Shea 
You  all  know  her  of  course? 

McKee 
Oh  yes,  a  splendid  woman. 
Garrison 
Estimable   woman.      No   better   choice   could   be 
made. 

Philip 
Will  her  husband  let  her  accept? 

All  the  Ladies 
Sir!!! 

Mrs.  Garrison 
Her  husband  wants  this  Fusion  ticket  elected  and 
he  knows  that  he  needs  the  women's  vote  to  elect 
it.      {The  men  shift  positions  nervously.) 
Shaw 
But  isn't  that  a  pretty  big  job  for  a  woman  to  fill? 

Mrs.  O'Shea 
The  job  is  a  big  one,  but  remember  it  is  a  capable 
woman  who  will  fill  it.  One  of  those  persons  who 
is  much  the  same  kind  of  a  female  that  bred  so 
splendid  a  man  as  you  Mr.  Shaw.  Something  like 
the  woman  perhaps  who  reared  Mr.  Garrison  here 
to  such  a  pinnacle  of  brains  and  energy.  A  woman 
something  such  as  I  am  who  can  bring  up  a  boy  and 
train  him  as  I  have  Philip.  One  perhaps  like  the 
woman  who  cuddled  George  Washington  and  cra- 
dled  Abraham  Lincoln.     One  of  our  own   good 


LITTLE  MOTHER  OF  THE  SLUMS  27 

women  of  Cheltenham  who  has  ministered  to  the 
sick  and  helpless  and  has  given  the  unfortunate  man 
or  woman  a  boost  toward  right  living. 

McKee 

But  ladies.     {Very  prompously,)     Will  you  per- 
mit me  to  suggest  that  Commissioner  of  Social  Wel- 
fare looks  after  the  poor,   the  sick  and   dead,   the 
schools  and  the  amusements  and  morals  of  this  city! 
Mrs.  Garrison 

My  dear  Mr.  McKee,  who  looks  after  the  sick 
and  poor  and  dying  in  every  home  in  this  city !    Who 
directs  the  education  of  the  children.    And  who  can 
be  so  well  fitted  as  the  experienced  woman! 
Mrs.  Shaw 

Women  are  in  closer  sympathy  with  all  phases 
of  life  that  make  for  the  Social  Welfare  of  any 
community.  And  if  there  are  any  duties  that  seem 
too  hard  for  her,  she  can  always  call  upon  the  men 
and  appoint  some  of  them  as  assistants.  We  look 
for  no  conditions  that  can  possibly  not  be  met  by  a 
woman. 

Philip 

That's  all  very  true.  But  there  is  always  a  por- 
tion of  life  that  is  below  the  average  in  morals 
and  in  intelligence.  And  mother,  this  class  is  a 
vital  force  in  this  city  and  sad  as  it  seems,  they  are 
not  for  the  betterment  of  your  class  of  women. 

McGraw 
That  may  all  be.     But  we  men  have  been  ad- 
ministering and  enforcing  laws  for  those  same  peo- 
ple in  infantile  doses  for  several  years  past  now% 
so  the  women  can't  possibly  do  worse.     But  the 


28  LITTLE  MOTHER  OF  THE  SLUMS 

police  department  will  be  run  by  men,  so  where's 
the  danger  Philip? 

Mrs.  Garrison 

He  was  no  doubt  thinking  of  the  efficiency  of 
the  Washington  police  a  short  time  ago.  The  only 
thing  that  the  men  had  to  do  with  the  Suffrage 
parade  in  Washington  was  a  failure,  and  that  was 
policing  the  city.  But  for  the  present  we  will  leave 
the  police  department  in  the  hands  of  our  men 
citizens. 

McGraw 

Ladies,  if  I  were  in  your  place,  I  would  not !  The 
women  of  this  country  gathered  at  Washington 
have  held  up  the  government  while  the  Committee 
was  investigating  the  SuflFrage  parade.  So  why 
don't  you  go  about  this  right!  Take  the  whole 
works!  You  can  run  them! 
Davy 

{Bell  rings,  Davy  enters  more  excited  than  be- 
fore.) Oh  Marse  Garrison,  dey's  moah  ladies  out 
dar!  Dis  heah  do  look  bad.  .  .  Ahs —  {Lays 
down   cards.) 

Garrison 

{Reads  cards.)  Admit  them  at  once.  {Davy 
hurries  out,  and  Garrison  leisurely  moves  toward 
door.  Davy  pushes  door  open  and  holds  it  to  allow 
the  ladies  to  enter.) 

ENTER  MISS  CHANDLER  AND  THE 
LITTLE  MOTHER  OF  THE  SLUMS.  {Philip 
starts  violently.  Garrison  extends  his  hand  first  to 
Miss  Chandler  then  to  The  Little  Mother,  whose 
hand  he  retains  and  leads  her  farther  over,  turns  her 
around  and  with  a  sweep  of  hand.)     You  know  all 


LITTLE  MOTHER  OF  THE  SLUMS  29 

here,  do  you  not?  (She  smiles  and  nods  to  all  until 
her  eyes  meet  Philip'sj  a  startled  cry  escapes  her, 
and  she  staggers  a  little  hut  Garrison  slips  his  arm 
around  to  support  her,  but  she  instantly  straightens 
up  shakes  her  whole  body  as  if  throwing  off  a  fright- 
ful dream.     As  her  eyes  and  Philip^s  meet  he  starts 


Philip 


forward. ) 

Patsy ! 

Mrs.  O'Shea 
(Innocently.)     Ah,  Little  Mother,  you  know  my 
son,  Philip? 

The  Little  Mother 
(Passes  hand  over  throat.)     Yes,  yes  it  was  some 
time  ago,  I, — I  have  forgotten  where. 

Miss  Chandler 

(McGraw  has  been  watching  Philip  closely,  but 
comes  up  front  as  she  speaks.)  I  thank  you  gentle- 
men, for  this  consideration,  and  as  I  notice  you  are 
going  to  the  ball,  I  will  hurry  my  errand.  Mr.  Mc- 
Kee,  (She  moves  back  of  table.)  we  want  the  prom- 
ise of  your  candidate  for  mayor,  that  in  case  he  is 
elected,  he  will  create  a  Vice  Commission  for  this 
city  of  both  women  and  men.  (Lays  paper  petition 
on  table  before  him.) 

McKee 

Why  Miss  Chandler,  we  have  laws  to  govern  the 
vice  and  protect  the  virtues  of  this  community.  Why 
is  there  need  for  more  officials  and  more  salaries. 

Miss  Chandler 
That  is  just  the  trouble.     We  have  laws  which 
are  very  explicit  on  social  evils,  but  vice  is  rampant 


30  LITTLE  MOTHER  OF  THE  SLUMS 

and  the  laws  are  not  enforced.  We  have  officials, 
yes  with  salaries,  but  this  is  to  be  different.  These 
are  to  work  with  no  salaries,  and  instead  of  shutting 
themselves  up  in  elegantly  appointed  offices,  their 
offices  shall  be  their  homes  and  their  places  of  busi- 
ness. It  will  be  their  duty  to  walk  in  the  streets 
and  on  the  highway  among  God's  forgotten  creatures 
and  stick  out  a  helping  hand.  No  checks  or  pocket- 
books  need  be  flourished,  just  put  out  a  glad  hand! 

The  Little  Mother 
And  I  have  come.     .     .     . 

Shaw 
{Interrupting.)      Now  just  from  where  do  you 
come?         {McGraw    is    at    Right    center-back,    he 
moves  front,  his  looks  are  ferocious.) 
The  Little  Mother 
I —  {Very  quietly.)      I  come  from  the  streets  of 
gay  laughter  and   bright  lights   and   heavy  hearts. 
Where  women  do  not  sleep  lest  they  might  dream 
of  home,  and  peace  and  childhood  days, — and  then 
wake  up  and  find  it  all  a  horrid  dream.      {Heads 
are  inclined  toward  her.) 

Shaw 
What  is  the  number,  madam? 

The  Little  Mother 
20 1  Rainbow  Avenue.     {Shaw  sneers.) 

Garrison 
{Very  gently.)  My  dear  young  woman,  had  you 
printed  that  number  on  your  card,  I  would  not 
have  received  you.  My  wife  and  her  friends  are 
with  me.  {A  tired  little  smile  plays  on  the  Little 
Mothers    lips.) 


LITTLE  MOTHER  OF  THE  SLUMS  31 

Mrs.  Garrison 
Husband!     This  is  my —    {The  Little  Mother 
motions  silence.) 

The  Little  Mother 
I  have  not  come  to  make  a  social  call,  I  am  here 
on  very  different  business.  The  work  I  am  in,  has 
no  social  distinction  that  I  know  of,  and  no  card 
of  introduction  is  needed  to  the  houses  next  door  to 
me.  {Suppressed  emotion.)  But  once  men  and 
women  visit  there,  the  way  back  and  out  is  hard  to 
find.  One  seems  to  grope  awhile,  then  stumble  and 
fall  back!     You  understand  me,  do  you  not? 

Garrison 
I   think   I   do.      {The  group   of  listeners  are  all 
agape  with   interest.) 

Shaiu 
I  must  say,  I  find  little  pleasure  in  your  remarks, 
and  I  object  Mr.  Chairman  to  giving  this  young 
woman  permission  to  speak.     Sir,  I  call  it  an  in- 
trusion. 

{Philip    and    McGraiu     speak     at    same     time. 
Gesticulate. ) 

Philip  and  McGraw 
Mr.  Chairman. 

McKee 
{To  Little  Mother.)     Pardon  me,  madam.    Pro- 
ceed Philip. 

Philip 
I  desire  to  request  that  all  here  present,  hear  The 
Little  Mother  present  her  message.     {McKee  nods 
approval.) 

The  Little  Mother 
My  message,   which   is  a   request,   may  seem   as 


32  LITTLE  MOTHER  OF  THE  SLUMS 

strange  as  my  place  of  residence.  But  I  am  here  to 
petition  you  to  see  that  the  police  cease  their  activi- 
ties in  forcing  the  unfortunate  inmates  of  that 
clouded  district  to  register  for  the  coming  election. 
(A  stir  and  a  whisper  from  the  ladies.  Miss  Chand- 
ler and  ladies  smile  approval,  while  McGraw  and 
Philip  show  worry,  and  the  other  gentlemen  show 
anger  and  disapproval.) 

Garrison 
I  want  to  advise  the  Little  Mother  that  such  a 
request,   properly   belongs   to   the   Fire   and   Police 
Board  of  this  city.    It  does  not  belong  in  a  gathering 
of  private  individuals. 

Shaw 
{Showing  temper.)     This  request  is  offensive  and 
out  of  place. 

The  Little  Mother 

I  do  not  hold  it  to  be  so  and  I  have  made  no 

mistake  in  coming  here.     I  have  been  to  the  police 

and  they  are  anxious  to  win  this  election  at  any  cost. 

They  are  not  personally  or  vitally  interested,  but 

the  business  men  of  this  city  are.     It  is  now  up  to 

you  and  the  party  and  candidates  whom  you  will 

support,  to  stop  this  crime  against  helpless  women. 

McKee 

Those  women  have  a  right  to  vote  if  they  choose. 

The  Little  Mother 
But  they  do  not  choose,  and  therein  lies  the  crime ! 

Garrison 
How  do  you  happen  to  know  what  those  people 
wish? 

The  Little  Mother 
I  live  among  them  and  I  know  them.     I  have 
talked  with  them  about  voting  and  the  issues  in  this 


LITTLE  MOTHER  OF  THE  SLUMS  33 

campaign. — About  the  issues  they  know  nothing  and 
care  less.  They  tell  me  they  have  always  voted  as 
the  police  ordered. 

McKee 
So  you  are  the  woman,  who  has  advised  those 
inmates   not   to  register! 

The  Little  Mother 
I  am  trying  to  lead  them  to  act  as  their  con- 
science dictates.  But  with  the  police  department 
ready  to  drag  them  into  court  on  the  charge  of  liv- 
ing disorderly  lives,  which  they  wink  at  the  rest  of 
the  year,  and  my  pleading  not  to  vote  until  they 
know  for  what  their  ballot  stands, — why,  the  poor 
things  are  in  unnecessary  distress. 

McKee 

I  consider,  my  dear  young  woman,  that  you  are 
a  meddler  and  a  mischief-maker,  and  you  will  suc- 
ceed, if  you  are  not  stopped,  in  driving  supporters 
away  from  this  ticket.  I  warn  you  that  I  shall  take 
steps  in  the  morning  to  have  you  removed  to  another 
section  of  the  city.  You  admit  you  live  in  that  sec- 
tion of  the  city,  and  it  is  against  the  law  for  any 
woman  of  leisure  to  be  found  there.  I  shall  have 
you  taken  up  as  a  vagrant! 

McGraw 

{McGraw  plunges  forward  and  with  fist  up- 
lifted over  McKee,  he  is  about  to  strike,  when  Mrs. 
Garrison  steps  between  them,  pushes  them  apart  and 
holds  on  to  McGraw.  Philip  rushes  to  the  Little 
Mother  s  side  and  as  Mrs.  Garrison  speaks,  he 
places  his  hand  on  the  Little  Mother  s  arm.  The 
Little  Mother  is  not  aware  of  his  presence  so  near 


34  LITTLE  MOTHER  OF  THE  SLUMS 

for  she  is  too  busy  shaking  warning  hands  at  Mc- 
Graw.) 

McGraw 
Stop!     I  am  this  young  woman's  protector!   And 
I  stand  between  her  and  your  persecution. 
Shaw 
Then  who  and  what  are  you!      {Tauntingly  to 
the  Little  Mother.) 

McGraw 
{Shaking  his  fist  at  Shaw.)     She  is  a  respectable 
woman  who  is  living  with  her  child  down  in  the 
bottoms.     She  is  giving  her  time  and  strength  to 
help  those  unfortunate  women,  and  every  man  who 
is  a  man,  respects  and  loves  her! 
McKee 
I  wonder,  the  Juvenile  Court  does  not  take  your 
child  from  you,  when  you  persist  in  living  in  that 
section!        {Intense  feeling.) 

Mrs.  Shaw 
The  courts  approve  of  the  Little  Mother's  work! 

Miss  Chandler 
She  needs  no  protection  except  from  the  vultures 
in  respectable  political  parties  with  about  as  much 
heart  and  soul  as  you  leaders  are  showing  now! 

Garrison 
May  I  ask.  Little  Mother,  where  your  husband  is, 
does  he  approve  of  your  work,  the  father  of  your 
child,  I  mean? 

The  Little  Mother 

{Looking  straight  ahead,  falls  a  little  back  so  that 

she  leans  on  edge  of  table,  looking  out  and  off.) 

I  have  no  husband.     I  claim  no  ties  only  my  boy! 

He  is  one  year  old,  and  it  was  his  coming,, that  led 


LITTLE  MOTHER  OF  THE  SLUMS  35 

me  to  be  helpful  to  others.  Oh,  if  the  rest  of  the 
women  down  there,  ever  felt  the  touch  of  baby 
fingers  and  baby  lips,  there  would  be  little  need  of 
reformers.  A  little  unwelcome  child  leads  me  and 
I  keep  him  near,  so  that  I  may  help  others.  Mc- 
Graw  vigilantly  near  the  Little  Mother.) 
Mrs  Garrison 

Dear  Heart,  we  knew  you  suffered,  but  we  did 
not  know  the  burden  was  so  great.  {Tries  to  pat 
and  caress  her.) 

Mrs.  O'Shea 

Dear  child,  you  are  not  alone.  Every  mother's 
heart  beats  in  sympathy  with  yours.     ( Wipes  tear. ) 

The  Little  Mother 
But  I  must  be  alone,  and  I  must  work  out  my 
life  alone.  Good  men  like  you,  object  to  their 
wives  knowing  women  like  me,  who —  {She  falters, 
a  slight  struggle  of  breath  then  goes  on.)  Who, 
well, — God  forgot  me  for  a  moment,  .... 
and  I  transgressed  the  law!  But  I  want  to  go  on 
with  my  story, — it  will  do  more  to  win  my  request 
from  you  than  my  pleading.  I  was  once  a  simple 
storegirl  and  sold  laces.  I  accepted  sweet  words 
and  thoughtful  little  courtesies,  believing  they  car- 
ried love  and  respect.  I  admit  I  liked  my  fair 
looks,  ....  then  I  crept  away  with  my  baby 
hugged  close  to  my  heart.  {Turning  to  the  ladies 
and  trying  to  smile.)  He  is  a  dear,  isn't  he!  {They 
nod  and  smile.)  In  the  hospital  I  met  another  name- 
less woman  who  had  just  buried  her  child.  She  was 
nearly  mad  with  grief  and  I  let  her  cuddle  my  boy 
too.  She  came  to  live  with  us,  my  boy  and  me, 
and  now  she  is  nearly  strong  and  well  again.     She 


36  LITTLE  MOTHER  OF  THE  SLUMS 

takes  care  of  my  baby  while  I   go  and  tell  other 
women  of  the  light  and  hope  that  is  in  the  world. 
Light  and   hope   for  all  of  God's  creatures  if  we 
but  look  for  it.     {Closes  eyes  and  pants.) 
McKee 
Who   is   the   man!      I   should   like   to   have   the 
pleasure  of  changing  his  features! 
Garrison 
I  could  walk  half  around  the  world  to  meet  him. 

Philip 
(Steps  forward.)      He  is   here  and  before  you! 
( Those    near    draw    away    suddenly    except    Mrs. 
O'Shea.) 

{Philip  turns  to  the  Little  Mother.)      You  are 
my  wife,  don't  be  stubborn,  let  me  protect  you  and 
our  boy.     Patsy  won't  you  come  to  me? 
The  Little  Mother 
I  am  not  his  wife!     No,  Philip,  the  truth  is  the 
only  salvation  for  me  and  my  boy!     {Mrs  O'Shea 
crowds  nearer,  the  rest  drop   hack.) 
Mrs.  O'Shea 
Little  Mother,  won't  you  listen   to  me.     Bring 
the  baby.     Come   to   our  home  and   let  me   teach 
you  to  love  his  father  and  to  forget!     Let  me  help 
to  make  amends.     His  father's  heart  may  yearn  too. 
Let  Philip  protect  his  child.     {Much  affected.) 
The  Little  Mother 
I  can  not  if  I  would.    The  day  my  boy  was  first 
laid  in  my  arms,  I  consecrated  him  to  the  service 
of  humanity.     Our  way  is  far  ahead  and  there  are 
many  pitfalls,  and  we  shall  need  each  other. 
Mrs.  O'Shea 
But  will  not  the  tears  of  a  gray-haired  mother 


LITTLE  MOTHER  OF  THE  SLUMS  37 

touch  your  heart?      {Breaks  down.) 
The  Little  Mother 
No, — No — ,      {Breathless   and   subdued.)      My 
work  Is  out  there,   in   the  world,  where  men   and 
women  walk  in  darkness  and  do  not  seek  the  light. 
{To  Philip).    You  must  live  and  grow  to  lead  men 
to  better  and  greater  things  than  we  have  known. 
Philip 
Teach  me  how  to  do  it !    Let  your  way  be  mine. 

The  Little  Mother 
{Drawing  farther  apart.)  No,  out  there  in  the 
world  of  sin,  my  life  and  work  lie  in  wait.  Soon 
my  boy  and  I  and  the  nameless  woman  who  is 
his  nurse  leave  this  city. — But  gentlemen,  you  who 
have  much,  will  you  not  sign  our  petition  and  help 
less  fortunate  humanity? 

Garrison 
Give  me  the  pen.     {Signs.     The  other  men  stand 
in  line  ready  to  sign.     Philip  alone  does  not  move 
but  at  center,  stretches  hands  to  Patsy.) 
The  Little  Mother 
{Extends  hand  to  Miss   Chandler.)      Come,  let 
us  go.     Our  work  is  finished  here!     {As  she  passes 
Philip  he  puts  out  his  hands  pleadingly.) 
Philip 
Won't  you  let  me  go  with  you? 

The  Little  Mother 
No,  I  can  not.     Perhaps  in  years  to  come,  out 
there  in  the  world  of  work,  God's  world,  we  shall 
meet.    Shall  my  boy  and  I  know  you  by  your  work? 
{She  extends  hand  to  him.) 


38  LITTLE  MOTHER  OF  THE  SLUMS 

Philip 
{Taking  her  hand  in  his  he  lifts  it  to  his  lips. 
Solemnly.)  We  shall  meet  out  there  and  you  will 
know  me  by  my  work.  {She  turns  and  goes  out 
quickly  followed  by  Miss  Chandler  .  .  . 
Mrs.  O'Shea  is  weeping  on  Mrs.  Garrison  s 
shoulder  while  Mrs.  Shaw  is  pushing  Mr.  Shaw  up 
to  sign.  Philip  watches  Patsy  go  out  then  whirls 
and  taking  up  pen  is  signing  the  petition  when  the 
curtain  falls.  McGraw  down  front,  face  all  smiles.) 


THE  YEGGMAN 
A  PLAY  IN  ONE  ACT 


SCENE  I 

A  street  called.  Via  San  Martino.     Rome  Italy. 
SCENE  II 

London  England, 

TIME 
Present. 


CHARACTERS 

Lady  Montalto,  English  wife  of  Italian  Ambas- 
sador. 

MoNSiGNOR  Leone  Montalto,  Ambassador  to 
England. 

Count  Boni  Casselbane,  A  Nobleman  of 
France. 

Lucy,  Lady  Mantalto's  maid. 

Professional  burglar  or  ''The  Yeggman." 


COSTUMES 

Count  Boni  dressed  in  uniform  of  French  officer. 
Montalto,  Frock  coat,  gray  trousers,  silk  hat. 
Lady  Montalto,  Decollette  dinner-dress  entrain. 
Lucy,  conventional  frock  of  lady*s  maid, 
Yeggman,  dressed  like  a  tramp. 

PROPERTIES 

BOUDOIR — Double  window  at  right  in  rear. 
Dressing  case  at  R.  center  with  toilet  articles  and 
jewel  case  on  it.  Silver  mirror  and  silver-cased 
bottles.  At  R.  front  a  door,  and  a  little  to  the  rear 
and  in  center  a  long  dressing  mirror,  with  a  table  at 
right  of  it.  A  chair  in  front  of  mirror.  At  L.  rear. 
Lady  Montalto*s  bed.  Left  a  mantel  with  statuary, 
nude  cherubs  and  a  T^enus  de  Milo.  Candle-sticks 
with  the  one  nearest  bed  lighted  as  Lady  Montalto 
retires. 


The  Yeggman 

SCENE  I 

{Three  o'clock  on  the  Via  San  Martino.     Drop 
represents  the  porch'  and  steps  of  a  nobleman  s  palace. 
Enter  Count  Boni  Casselbane  walking  towards  the 
steps.     He  is  met  by  Monsignor  Montalto.) 
Mont  alto 

Ah,  good  morning  Count,  I  see  you  are  none  the 
worse  for  last  night's  revelry. 

Count  Boni 
Oh  no,  but  damn  me,  man,  it  is  hard  to  under- 
stand the  change  which  has  come  over  you  since  you 
married  an  English  wife.     Zounds  man,  I  believe 
you  are  in  love! 

Montalto 
Believe  me  when  I  confess  I  am. 

Count  Boni 
You  will  soon   tell  me  that  you  believe  her  an 
angel  of  virtue  and  a  sprite  of  wit. 

Montalto 
An  angel  of  virtue?    You  put  it  too  mildly.    She 
is  more  fair,  virtuous,  wise  and  constant,  and  less 
susceptible  to  evil,  than  any  of  the  rarest  of  your 
ladies  of  France. 

Count  Boni 
Fie,  Montalto,  that  lady  whose  virtues  you  de- 
scribe is  not  now  living  or  this  gentleman's  opinions 
are  worthless. 

43 


44  THE  YEGGMAN 

Mont  alto 
You  speak  wildly,  for  a  gentleman  who  wears  the 
ribbon  of  honor. 

Count  Boni 
Why  Monsignor,  you  will  soon  prefer  ours  of 
Paris,  ha,  ha,  and  agree  with  me  that  your  lonely 
wife    is   now   seeking   pleasure   with    the   courtiers 
about  St.  James. 

Montalto 
Stop!     You  speak  of  my  wife! 

Count  Boni 
Yes,  but  you  led  the  conversation.  Now  to  be 
honest  Montalto,  I  was  astonished  at  your  talk 
last  evening.  The  very  idea  of  your  absolute  faith 
in  womankind.  Let  me  enlighten  you.  We  think 
we  carry  our  wives'  affections  safely  in  our  hearts, 
but  you  know,  strange  fowl  light  upon  neighboring 
ponds. 

Montalto 
{Angry.)     Your  France  contains  no  courtier  who 
could  tarnish  the  honor  of  my  wife! 
Count  Boni 
I   wager   you   ten    thousand   pounds   against   my 
honor — charm,  that,  holding  a  letter  from  you  to 
your  bride  in  England,  I  can  bring  from  there  that 
honor  of  hers  which  you  imagine  so  secure. 
Montalto 
{Heated.)     Were  I  not  so  sure  of  her  honor,  I 
would   command   you    to   draw   and    defend   your- 
self,— but   I    take   your   wager.      You    Frenchman 
think  too  lightly  of  your  women.     Yet  to  prove  to 
you  how  secure  I  feel  in  the  possession  of  my  lady's 
virtues,  I  accept  the  terms  and  will  give  you  a  letter 
to  her  in  London. 


THE  YEGGMAN  45 

Count  Boni 

Good,  I  will  meet  you  at  the  Plaza  an  hour 
hence.  Fare  thee  well  until  then.  {Count  goes  off) 
Mont  alto 

Bah!  Such  business  is  offensive  to  me.  How 
fine  it  must  be  to  live  in  a  country  like  America, 
where  women  are  treated  like  goddesses  and  their 
virtues  looked  upon  as  part  of  their  beauty, — to  be 
admired,  but  never  discussed.     {Shrugs  shoulders.) 

These  Frenchmen!     {Goes  off,) 

SCENE  II 

DROP  is  lifted  and  scene  takes  place  in  London 
in  the  boudoir  of  Lady  Montalto.  Her  maid  is 
waiting  to  prepare  her  for  bed. 

{Lady  Montalto   in   front   of  a  desk   holding  a 
photograph  in  her  handj  and  tnaid  is  turning  down 
bed-clothes  and  adjusting  pillows.) 
Lady  Montalto 

Six  weeks  to-day  since  his  lordship  sailed  for 
Italy.  It  seems  as  if  he  were  gone  for  ages.  I 
wonder  that  the  government  should  need  his  advice, 
and  so  suddenly.  {Presses  picture  to  lips,  wipes 
away  her  tears.) 

Lucy 

Oh  my  lady,  do  not  weep  so,  for  great  men  are 
needed  in  the  business  of  two  big  nations. 
Lady   Montalto 

It  was  thoughtful  of  my  husband  to  send  a  greet- 
ing through  Count  Casselbane.  What  a  handsome 
courtier  he  is! 

Lucy 

Umph!    I  don't  like  him. 


46  THE  YEGGMAN 

Lady   Montalto 
No?    Why  not? 

Lucy 
Oh  he  stared  at  you,  until  you  blushed.     {Lady 
Montalto  shows  some  displeasure  at  her  remark.) 
Oh  I  beg  your  pardon.      {Bows  low.) 
Lady   Montalto 
Yes  but  he  apologized  profusely  for  his  manner. 

Lucy 

Well,  but  do  your  English  gentlemen  say  such 
pretty  things  to  you? 

Lady   Montalto 

No-o!  Still  he  is  a  dear  friend  of  your  master 
and  brought  me  such  good  news  from  him,  that  I 
feel  that  I  must  forget  his  manners,  which  are  those 
of  a  Southern  Court  and  not  like  ours,  and  receive 
him  cordially  for  my  lord's  sake. 
Lucy 

What  was  that  he  asked  you  to  keep  for  him? 
Lady   Montalto 

He  is  here  to  purchase  a  gift  for  His  Holiness, 
the  Pope,  which  will  be  placed  in  the  Vatican,  and 
since  it  is  a  gift  from  Royalty,  its  value  is  very  great. 
So  I  have  promised  to  keep  the  chest  here  in  my 
chamber  for  safety.  By  the  way,  this  is  the  hour  of 
its  arrival.  Order  my  men  to  carry  it  here  at  once. 
{Lucy  goes  out  and  Lady  Montalto  continues  speak- 
ing.) I  am  glad  to  be  able  to  show  so  small  a 
favor  to  Pope  Pius  and  the  Vatican.  Our  beloved 
and  lamented  Queen,  Victoria,  held  his  holiness  in 
high  esteem.  {Enter  Lucy  and  two  men  carrying  a 
chest  made  of  carved  wood.)     Place  it  there  near 


THE  YEGGMAN  47 

the  dressing-case.     {The  chest  is  set  down  in  front 
of  dresser.) 

Lucy 

Humph!    I  wouldn't  keep  it!    Those  Frenchmen 

have  a  bold  way  of  demanding  favors.     One  would 

think  he  was  only  asking  an  American  father  for 

his  daughter  and  the  spare  millions  of  the  family. 

Lady  Montalto 
Ah,  Lucy,  you  are  truly  unkind  to  the  Americans. 

Lucy 
But  my  lady,  what  can  those  American  girls  see 
in  a  powdered  and  corseted  prig  like  Count  Boni 
Casselbane?     Well!      If   they  could   only  see   my 
Samuel — 

Lady  Montalto 
Hush  girl !  Your  tongue  is  wagging.  But  come, 
I  will  go  to  bed.  {Lucy  places  chair  before  mirror 
and  begins  to  take  down  Lady  Montalto' s  hair. 
Takes  off  string  of  puffs.  Holds  them  up,  then  lays 
them  on  table.) 

Lucy 
Will  you  have  your  book,  my  lady? 

Lady  Montalto 
Thank  you,  yes.     {Lucy  brings  book.  She  removes 
another  string  of  puffs.      Count  Boni  lifts  lid  of 
chest  so  that  audience  can  recognize  him.     He  tries 
to  steal  a  look  at  Lady  Montalto.) 
Lady  Montalto 
You   must   get   me   another  string   of   puffs   to- 
morrow from  the  wig-maker's,  for  Lady  Montague 
must  not  outshine  me.     She  wore  at  the  dinner  this 
evening,  three  full  strings,  and  a  set  of  curls. 


48  THE  YEGGMAN 

Lucy 

Well  you  shall  have  four  then.  {Takes  off  a 
braided  switch  and  places  it  with  other  hair  on 
table.) 

Lady   Mont  alto 

I  do  not  like  the  style  of  hair  that  is  worn  to-day, 
I  think  I  look  best  when  it  is  like  this.  {Her  hair 
is  falling  over  her  shoulders  loosely.  Lucy  unfastens 
her  frock  and  she  slips  off  gown  and  petticoats. 
Count  Boni  lifts  lid  of  chest.  Lady  Montalto  is 
now  dressed  only  in  muslin  skirt  and  undervest, 
and  she  gets  into  negligee  robe  of  muslin  and  lace, 
made  with  low  neck  and  short  sleeves.  She  sits 
down  again  and  lifts  her  feet  for  Lucy  to  remove 
slippers  and  in  bedroom  pumps  walks  to  trunk.) 
Lady   Montalto 

I  hope  no  burglar  meddles  the  chest,  for  it  would 
embarrass  me  before  Count  Casselbane. 
Lucy 

Oh  nothing  can  possibly  happen  it  here. 

Lady   Montalto 
{Lady  Montalto  in  bed  sitting  up  while  Lucy  is 
tucking  her  in.     The  lights  on  stage  lower.)    Leave 
the  candle  burning.    You  may  go  now. 
Lucy 
Good  night  my  lady.     {Goes  out.) 

Lady  Montalto 
Good  night  Lucy.  ( Tapers  are  burning  near  bed. 
Lady  Montalto  reclining  on  pillows,  stretches  her 
hands  upward.)  To  your  protection,  Oh  Heavenly 
Father,  I  commend  myself,  and  pray  you  send  my 
husband  safely  back  to  me.  {She  sleeps.  The  lid 
of  trunk  is  raised  cautiously  and  Count  Boni  sits 


THE  YEGGMAN  49 

up  and  shakes  himself,  looks  about  chamber  a  mo- 
ment then  gets  out.) 

Count  Boni 
A  pretty  bower  for  so  pure  a  maid.  I  could  not 
reach  her  to-day  with  my  prettiest  speeches,  but  I 
can  carry  away  enough  proofs  from  here  to  con- 
vince Montalto  that  his  bride  is  false  to  her  mar- 
riage vows.  And  then  I  win  ten  thousand  pounds. 
(Struts  before  mirror,  pushes  down  corsets.)  Aha! 
And  now  for  a  peep  at  my  lady.  (Goes  to  bed.) 
Ye  Gods!  She  is  a  new  blown  rose  in  a  bed  of 
softest  moss!  But  to  my  proofs:  (He  ivrites  in 
note-book.)  "Two  groups  of  cherubs  on  the  mantel, 
and  above  it  a  picture  of  a  Madonna.  A  double 
window  at  rear,  hung  in  pink  satin.  Pink  draperies 
over  her  bed  and  a  statue  of  the  Madonna  on  her 
dressing-table."  Ah,  but  the  lady  herself!  And 
now  for  some  marks  about  her  person.  (He  goes  to 
bed  leans  over  Lady  Montalto  but  steps  away  when 
he  speaks  so  as  not  to  awaken  her.)  A  scar  on  her 
arm  where  the  pox  virus  was  buried.  (Chuckles 
with  joy.  Goes  to  bed  again.)  Oh^  that  I  might 
touch!  One  kiss!  But  one  kiss!  (Comes  back  to 
center.)  One  mole  as  large  as  a  franc  on  her  left 
breast.  (Dances  hilariously.)  Hurrah!  I  have 
stolen  the  secret  and  will  stake  these  proofs  against 
her  honor  to  her  boastful  lord.  (ENTER  A  REAL 
BURGLAR,  A  REAL  YEGGMAN  THROUGH 
WINDOW  AT  REAR.)  (He  comes  down  center 
and  drops  his  jimmy  and  sack  on  floor  in  front.  Sees 
jewel  box,  stuffs  it  in  sack.  Goes  to  dressing  table, 
picks  up  false  hair,  drops  it  through  fright.  All 
this  time  Count  Boni  is  either  at  foot  of  bed  gazing 


50  THE  YEGGMAN 

at  sleeper  or  leaning  at  her  head  scribbling  notes. 
THE  YEGGMAN  goes  to  bureau  at  right,  picks 
up  perjume,  smells  it  and  grins,  does  it  again. 
Slicks  down  his  rags  before  mirror  and  squirts  per- 
fume over  himself  again.  Takes  powder-puff  puts 
on  some  powder  turns  and  sees  Casselbane.  The 
Yeggman  cautiously  moves  toward  center  and  dis- 
covers what  Count  Boni  is  doing.) 
Count  Boni 
One  kiss  can't  harm! 

Yeggman 
{Grabbing  Boni  by  neck,  drags  him  down  front.) 
Why  you  damn  scoundrel!  My  business  is  white 
to  yours!  I  steals  common  junk,  you  steals  de  honoi 
from  women.  ( Count  jerks  away  and  draws  sword; 
loses  his   note-book.) 

Count  Boni 
{Haughtily.)      Defend    yourself,   you   worm   of 
society ! 

Yeggman 

Ha!  Ha!  Worm  of  society!  Bromide!  Say 
guy,  your  belfry's  full  of  crystals.  He!  He! 
{Draws  pistol  and  points  it  at  Count.)  Take  off 
that  toy!  {Meaning  Bonis  sword.)  Put  it  down 
there!  {Points  to  floor.)  Now  spit  on  it.  Spit  on 
it,  I  say!  {The  Count  charges  Yeggman  but  burg- 
lar puts  his  pistol  close  to  Bonis  head.  Boni  again 
drops  sword.) 

Count  Boni 

You  scum  of  the  earth !  Do  you  not  know  I  was 
decorated  with  that  blade  for  an  unusual  act  of 
courage  ? 


THE  YEGGMAN  51 

Yeggman 

O-ho!  You  mean  for  doin'  the  Peeplng-Tom 
act!  Spit  on  it!  {Kicks  Count.)  Or  I'll  decorate 
you  some  more.  Now  kiss  my  hand  you  backguard ! 
Kneel  and  kiss  it!  {Kicks  Count  again.)  Take 
honor  when  it's  offered  you,  you  dog!  {Yeggman 
in  lofty  pose.)  I  am  the  King  of  Midnight  Prow- 
lers, and  I  permit  you  to  touch  my  elegant  gar- 
ments. O-he,  O-ho!  and  to  kiss  my  pink  fingers. 
{Count  scrambles  on  knees  and  kisses  his  fingers, 
Yeggman  howls  with  laughter.)  Now  tell  me, 
how'd  you  come  here!  {Yells.)  Tell  me  how  you 
came  here!  {Lady  Montalto  sits  up  and  rubs  eyes.) 
Chin  up  you  damn  skunk! 

Lady   Montalto 

{Screaming  wildly.)  Lucy!  Oh  Lucy!  {She 
springs  out  of  bed.  Lucy  rushes  in,  dressed  in 
night  attire,  braids  of  hair  sticking  up  straight,  and 
wearing  a  short  wide  night-robe.  Yeggman  grins 
at  her.) 

Yeggman 

Don't  be  skeered  good  lady,  I  won't  harm  you, 
but  I  can't  speak  for  dis  oder  guy.  {He  sees  Lucy 
and  laughs  uproaringly  again.) 

Lady   Montalto 

{Aghast.)      Count   Casselbane! 

Yeggman 
I  came  in  here  after  junk,  but  I  found  this  sneak- 
ing dog,  bending  over  you  in  your  nest  there,  and  I 
was  just  going  to  trim  him  down  to  my  size,  when 
you  rounded-to  out  of  your  trance. 
Lucy 
{Lady  Montalto  picture  of  horror.)     There  my 


52  THE  YEGGMAN 

lady,  what  did  I  tell  yer!     (She  goes  over  to  Count 
and  pushes  him  roughly.) 

Count  Boni 
Your  Ladyship,  permit  me  to  explain.     I  saw  this 
thief  enter  your  apartment  through  the  rear  window 
and  I  followed  him  to  protect  your  highness. 

Yeggman 

(Shouts  with  laughter.)  Him  to  protect  you, 
Lady!  (To  Count.)  You're  snowy.  Take  an- 
other squirt,  you've  got  'em  bad!  (Goes  to  chest.) 
Umph !  You  Devil's  Son !  Came  to  protect  a  lady. 
Here's  his  coat  in  this  chest.  (Burglar  puts  on  the 
Count^s  velvet  cape.  Lady  Montalto  picks  up  the 
Count's  note-book.)     Reads: 

Lady  Montalto 

''A  mole  as  large  as  a  franc  on  her  left  ~b-r- 
e-a-s-t.  (She  clasps  her  hands  to  her  bosom,  stifles 
a  moan  then  looks  at  cover  of  book  and  screams.) 
His  name!  Oh  you  perfidious  dog!  Protect  me, 
ragman,  who  ever  you  are.  (Goes  to  side  of  bur- 
glar, he  makes  a  comedy  scene  out  of  his  preferment 
over  the  Count.) 

Lady   Montalto 

Lucy,  call  the  police.  (Lucy  rushes  to  open  win- 
dow.) Help!  Police!  (The  Count  tries  to  rush 
past  the  Yeggman  but  is  covered  by  Yeggman  s 
gun.) 

Yeggman 

I  sees  where  we  bunk  together  to-night,  old  pal. 
Count  Boni 

Old  pal,  how  dare  you! 

(Police  are  heard,  bells  and  gongs  ring.) 


THE  YEGGMAN  53 

Lady  Mont  alto 

(Rushes  to  window,)  Police!  Help!  Help! 
{Loud  noise  outside,  police  pound  door,  Lucy  is 
trying  to  unlock  it.)  Here  Yeggman,  go.  {Points 
to  window  and  as  he  passes  her  she  hands  him  her 
purse.)  Here  are  twenty  pounds,  save  yourself. 
{He  grimaces  at  Lucy,  shakes  fist  at  Count.) 
Yeggman 

Dont'  you  ever  attempt  to  intrude  your  mug 
into  my  society  again!  {Grand  stride  and  pose.) 
{Police  rush  in  at  door.  Lady  Montalto  points  to 
Count  and  the  sack  and  jimmy,  the  sack  with  her 
jewel-box.  They  hurry  the  Count  off.) 
Count  Boni 

{Fighting  furiously.)  I  am  a  subject  of  France 
and  of  noble  family.  You  shall  pay  dearly  for  this! 
{Yeggman  is  getting  out  of  window  at  rear,  throw- 
ing kisses  at  Lucy,  who  returns  them,  at  the  same 
time  he  rejoices  at  the  Count's  predicament.  Lady 
Montalto  has  followed  the  police  and  Count  to  door 
at  R,  and  stands  with  arms  folded  and  throws 
haughty  glances  at  the  Count  as  he  is  dragged  out, 
Yeggman  gathering  Lucy's  kisses  in.) 
Lady  Montalto 

In  an  iron  cell,  officer,  remember. 
CURTAIN 


DUPED 
A  PLAY  IN  ONE  ACT 


TIME 

Present. 

PLACE 
The  palatial  residence  of  Mrs,  Ormsby  Plunkett, 
New  York  City. 

SCENE 
Library  of  residence.  Eight  o'clock  in  the  evening. 


CHARACTERS 

Mrs.  Ormsby  Plunkett,  an  arrived  social  lead- 
er in  New  York's  "Four  Hundred'*  but  whose 
finances  have  suffered  of  late. 

Miss  Geraldine  Plunkett,  the  daughter,  just 
out,  and  whose  mother  has  placed  her  upon  the 
matrimonial  market. 

Tom  Plunkett,  brother  to  Geraldine  and  an  up- 
per classman  at  Yale. 

Billy  Nevins,  a  classmate  of  Tom's  and  an  all 
around  athlete,  who  is  secretly  engaged  to  Geraldine, 

Butler. 

AND 

Toby  Barnett,  the  "funny  man'  from  the  Ameri- 
can Music  Hall,  who  assists  the  young  people  out 
of  a  most  distressing  situation. 


PROPERTIES 

Furniture  of  a  library.  A  whiskey  decanter,  box 
of  cigarettes,  a  cloth  covering  for  piano,  a  cut  glass 
vase,  Venetian  vase,  a  statue  of  Flying  Victory  and 
American  Beauty  Roses, 

COSTUMES 

Geraldine  is  in  a  modish  frock  for  a  ''bud.** 
Mrs.  Plunkett  in  elegant  evening  gown  of  white 

and  blue.     She  wears  rich  jewels  and  carries  a  fan. 

Tom  and  Billy  in  evening  clothes  and  Toby  in  a 

ridiculous  costume  from  the  theater. 


Duped 


DISCOVERED 

Tom  and  Geraldine. 
( Geraldin  e   speaks, ) 

Geraldine 
But   Tom,    mother   is   determined    that   I   shall 
marry  Lancelot  Bergamo.     Oh  you  must  help  me. 
What  shall  I  do!      {Sobs  in  her  voice,) 
Tom 
Well  it's  a  shame,  sis.    An  outrage !    But  haven't 
you  told  mother  what  a  freak  he  is? 

Geraldine 

Everything.  But  Lancelot's  mother  is  ace-high 
at  Newport  and  Palm  Beach  and  has  fixed  it  all  up 
with  mother.  And  mother  has  found  out  that  he 
receives  millions  on  his  wedding  day,  so  that  settled 
it. 

Tom 

But  sis,  have  you  told  mother  what  villainous 
habits  he  has  and  how  he  was  cut  out  by  all  our  fel- 
lows at  Yale  for  his  dippy  ways  ? 

Geraldine 
She  is  immovable,  for  she  claims  we  need  his 
money,  and  that  I  ought  to  be  willing  to  overlook 
his  squint,  his  atrocious  bow-legs  and  his  abominable 
manners.  Oh  Tom,  and  to  think  how  I  love  Billy 
Nevins!  {Bursts  into  tears,)  I  can't  endure  the 
thought  of  it.  I'll  die  a  slow  death.  I'll —  {Sobs 
anew,)  I'll  grow  haggard  and  thin  and  ugly  if  I 
59 


6o  DUPED 

have  to  marry  that  monkey  Lancelot.  Oh  it's  dread- 
ful to  think  about!  {Throws  herself  on  lounge 
and  weeps  violently.) 

Tom 

Well  if  mother  could  only  meet  him  once,  she'd 
change  her  mind.     {He  busies  himself  at  left  with 
bric-a-brac  J  then  comes  down  front,  thoughtfully,) 
Geraldine 

{Shakes  her  head  disconsolately.)  No,  she 
wouldn't,  she  says  she  doesn't  care  if  he  has  wooden- 
legs,  a  glass  eye,  a  stammer  in  his  speech,  I  have  got 
to  marry  Lancelot  Bergamo! 

Tom 

And  Billy  Nevins!  The  finest  chap  in  these  dig- 
gings, head  over  ears  in  love  with  you, — to  be  pushed 
aside  for  this  Lancelot  Bergamo.  But  Geraldine, 
Billy  has  wealth  too.  In  fact  he  is  reputed  to  be 
heir  to  great  riches,  only  he  don't  go  around  holler- 
ing about  it,  and  doesn't  change  his  clothes  ten 
times  a  day.  His  dad  is  the  millionaire  copper  king 
of  Arizona,  and  Billy  is  the  real  stuff!  Sis,  we've 
got  to  win  out  in  this.  I  wouldn't  have  Billy 
Nevins  lose  you  for  worlds.  Let's  see;  you  say 
mother  has  never  met  Lancelot. 
Geraldine 

No,  she  has  taken  his  mother's  recommendation 
and  says,  "looks  may  go  to  Dublin,"  it's  money  she 
is  loolung  for. 

Tom 
I  have  it!     Let's  introduce  a  proxy  as  Lancelot 
to  mother.     It's  a  mean  trick  on  Lancy,  but  all's 
fair  in  love  and  war. 


DUPED  6i 

Geraldine 

{Excited.)      Oh  Tom  tell  me.     Hurry!    What 
do  you  mean!      {She  is  at  center,  all  excitement.) 
Tom 

Well  there's  a  fellow  down  at  the  American 
Music  Hall  who  is  a  cracker-jack  and  I  was  struck 
by  his  likeness  to  Lancelot  when  I  saw  his  act. 
I'll  get  him  to  come  up  here  and  meet  mother.  {She 
looks  confused.)  Now  wait.  I'll  instruct  him  to 
make  an  all-around  fake  and  freak  of  himself,  and 
m.other  will  be  so  disgusted  with  the  stunts  I'll 
give  him,  that  she'll  order  the  butler  to  turn  him 
out.  Ha!  Ha!  Poor  mother.  But  Billy  Nevins  is 
a  prince  of  fellows  and  I  must  have  him  for  a 
brother-in-law. 

Geraldine 

Oh  you  darling.  {Gives  Tom  a  hug.)  Tom, 
here's  mother.     Go. 

Tom 

Now  your  instructions. — Fill  the  whiskey  de- 
canter and  leave  it  with  plenty  of  cigarettes  on  the 
table  here.  I'll  have  Toby  Barnett  here  in  a  jiffy. 
Keep  up  courage  sis,  and  smile.  So  long.  {Exit 
Tom.) 

Geraldine 

{Rushes  to  door  of  book-case,  takes  out  decanter 
of  whiskey,  places  box  of  cigarettes  on  table  by 
decanter.)  There,  you  friends  or  foes!  Do  your 
worst  or  best!  {A  voice  is  heard  calling  from 
without.) 

Mrs.  Plunkett 

{From  without.)     Geraldine!     Geraldine! 

{Enter  Mrs.  Plunkett.)     Ah  here  you  are. 


62  DUPED 

Geraldine 
Yes  mother  dear. 

Mrs.  Plunkett 

{In  lofty  mood.)  Have  you  quite  composed 
yourself  in  making  ready  to  meet  Lancelot,  your 
future  husband?  {Looks  at  her  daughter  thru 
lorgnette. ) 

Geraldine 

Oh  mother,  won't  you  listen  to  me?  Lancelot 
Bergamo  has  not  millions  enough  to  make  the  name 
of  Plunkett  accept  his  eccentricities.  Why,  my 
ancestors  will  all  turn  in  their  graves  should  they 
ever  learn  of  my  perfidy  in  selling  the  name  for 
paltry  gold.  And  that, — the  coin  of  a  fisherman's 
son! 

Mrs.  Plunkett 

My  dear  Geraldine,  if  this  alliance  were  not  a 
certainty,  your  father  would  be  beggared  to-morrow 
morning.  Then  too,  your  father  was  a  well-dig- 
ger's son,  and  it  was  my  name  and  family  that  got 
us  a  foothold  here  in  New  York. 

Geraldine 
Well  father  has  been  able  to  float  us  here  on  a 
scandalously  extravagant  scale  since  then,  hasn't  he, 
mother  ? 

Mrs.  Plunkett 
Yes,  but  hush!  I  had  to  have  a  private  ceremony 
when  I  married  your  father,  because  your  father 
had  only  one  suit  of  clothes  and  that  a  sack  coat. 
Oh,  don't  remind  me  of  those  awful  days.  {She 
shudders.) 

Geraldine 
Well  dad  says  those  were  his  happiest  days! 


DUPED  63 

Mrs.  Plunkett 

Hush  child.    Don't  run  on  so.    Your  father  never 
has  thrown  off  his  plebian  tastes.    It  has  been  one  of 
my  greatest  secret  sorrows,  his  aversion  to  evening 
clothes  and  opera.     {She  sniffs.) 
Gerald  in  e 

Hurray  for  father!  His  keenness  sees  thru 
most  shams!  And  if  he  were  consulted  about  my 
marriage  he  would  quickly  see  the  terrible  dis- 
parity in  worth,  between  Lancelot  and  Billy  Nevins! 
Why  isn't  father  consulted? 

Mrs.  Plunkett 
Because  I  intend  to  see  you  well  settled,  with 
plenty  of  money  and  I  want  this  Nevins  banished 
from  your  mind!  Why  he  is  a  Westerner  and  no 
doubt  his  hardfisted  father  will  insist  on  his  begin- 
ning where  he  did, — digging  in  a  mine!  (Geraldine 
attempts  to  speak.)  Listen.  I  should  not  be  sur- 
prised if  the  Nevins  Pere  would  expect  you  to  live  on 
a  paltry  fifteen  thousand  a  year.  Then  what  would 
run  this  place  and  Whitehall  at  Newport? 

Geraldine 

(Haughtily.)  I  still  have  faith  in  my  father's 
ability.  But  mother,  I  do  not  love  Lancelot,  I — I — 
Mrs.  Plunkett 

(Whirls  up  stage.)  Oh,  that  doesn't  count,  love 
is  old  fashioned,  and  a  thing  that  can  be  cultivated 
at  any  time,  once  you  are  married  and  your  social 
position  is  secured.  (Comes  back.)  No  girl,  with 
proper  forbears,  marries  for  love  nowadays.  It's 
too  much  drudgery.  It  means  in  the  end  a  surren- 
der of  social  existence  and  encourages  large  families, 
which  are  terribly  vulgar.    I  shall  see  to  it  that  you 


64  DUPED 

shall  be  no  martyr  to  your  abominable  democratic 
views.  (Sadly.)  But  you  get  those  from  your 
father.  (Wipes  tears  angrily.)  Get  rid  of  them  at 
once.  By  the  way,  while  there  are  a  few  minutes 
left,  let  us  discuss  the  trip  to  Paris  for  your 
trousseau. 

Geraldine 

(Bursting  into  tears.)  But  mother  I  love  Billy 
Nevins  better  than  my  life.  I  can't  marry  Lancelot. 
Don't  you  understand? 

Mrs.  Plunkett 

(In  high  rage  and  an  expression  of  iron.) 
I  want  no  scene.  (Calmly.)  I  will  not  hear  of 
your  throwing  yourself  away  on  a  young 
man  with  only  a  million  to  begin  with!  We 
need  money,  and  we  need  it  badly,  I  see  no  way 
to  recoup  our  finances  except  this  marriage  of  yours 
to  Lancelot.  I  will  not  retrench.  I  have  told  your 
father,  I  would  not  give  up  the  home  here  and 
the  horses  and  motors  and  live  in  seclusion.  I  would 
die  first.  No!  Lancelot  gets  six  millions  on  his 
^^•edding  day  to  use  as  he  sees  fit.  Marrying  a 
handsome  girl  like  you,  he  no  doubt,  will  give  you 
unbridled  entrance  to  his  purse.  In  fact,  I  expect 
you  to  secure  that  comfort  for  yourself  and  me. 
Geraldine 

(Hands  outstretched  toward  mother,  imploring.) 
Mother,  don't  you  remember  how  happy  you  were 
with  father  when  he  was  poor?  And  I  shall  not  be 
poor!  Billy  has  everything  to  offer  me,  honor, 
health,  good  looks,  courage  and  plenty  of  wealth  for 
both  of  us,  if  you  will  only  be  reasonable.  Mother, 
won't  you  consider  my  feelings  a  little.     (She  has 


DUPED  65 

slipped  off  the  sofa  to  the  floor  and  is  sobbing,  her 
face  hidden  in  her  folded  arms.) 
Mrs.  Plunkett 

{In  lofty  pose.)  I  have  made  up  my  mind! 
Your  sentimental  scruples  shall  not  be  considered. 
I  shall  urge  an  early  marriage  too,  and  mind  you  do 
not  oppose  it.  {The  bell  rings.)  Here  is  Lancelot 
now:  I  expect  you  to  show  your  appreciation  of  the 
honor  he  does  you.  If  you  could  only  know  how  I 
have  cuddled  his  disagreeable  old  mother.  {Shud- 
ders.) She  is  as  ugly  as  a  horned  toad. — But  I 
prefer  toads  in  mansions  to  graceful  leopards  in 
cottages.     Get  up,   I  say. 

Geraldine 

Mother,  I — I —  {Rises,  sobbing  and  wiping  her 
eyes.) 

{Enter  butler.) 

Butler 

Mr.  Lancelot  Bergamo.  {Enter  Toby  Barnett. 
He  has  a  speck  of  a  cap  on  the  back  of  his  head 
which  he  forgets  to  remove.  He  is  attired  in  loud 
plaid  trousers,  frock  coat  of  ancient  cut,  red  vest 
with  white  buttons  and  a  loud  cane.  He  advances 
on  wobbly  legs,  wearing  a  broad  grin.  Makes  a 
low  bow.)  Ah,  my  dear  Mrs.  Plunkett,  how  do 
you   do? 

Mrs.  Plunkett 

My  dear  Mr.  Bergamo,  I  am  delighted  to  meet 
you.  Geraldine  tell  Mr.  Bergamo  of  your  pleasure 
too.  {Geraldine  is  convulsed  at  the  funny  sight 
which  Toby  makes  and  his  joljy  take-off.  She  re- 
covers herself  and  gives  her  hand  coldly  tQ  Toby.) 


66  DUPED 

Toby 

Yes,  yes,  my  dear  Mrs.  Plunkett,  I've  been  hav- 
ing a  deucedly  jolly  time.  {He  giggles  much,) 
I  have  called  on  so  many  nice  girls  to-day,  I  really 
can't  decide  which  I  like  the  best!  {Mrs.  Plunkett 
looks  surprised.)  But  I  tried  to  leave  the  best  for 
the  last. 

Mrs.  Plunkett 

Yes,  your  mother  advised  me  that  you  both  had 
considered  my  daughter  seriously,  and  I  expected 
you  to-day. 

Toby 

Quite  right, — but  you  see  it's  not  so  hard  to 
decide  upon  the  one  I  want  as  it  is  to  break  away 
from  all  the  other  girls.  {He  giggles  and  grins 
foolishly,  sees  decanter  of  whiskey,  slips  over,  empties 
two  glasses,  smacks  lips.)  Fine  brand.  Shall  we 
keep  King  William  in  our  home  dearest?  {Ad- 
dresses Geraldine.  He  begins  to  blink  his  eyes  and 
takes  another  glass  and  goes  close  to  Mrs.  Plunkett, 
who  can  scarcely  conceal  her  surprise.  In  fact  is 
wide-eyed  with  astonishment.)  "A  little  of  the  hair 
of  the  dog"  as  they  say  in  the  West.  {Puts  glass 
down  shakingly,  takes  a  cigarette,  lights  a  match 
on  his  trouser-seat.)  Permit  me.  {To  Mrs.  Plun- 
kett, who  is  almost  breathless  with  chagrin.)  Oh 
I've  had  such  a  good  time  to-day, — the  girls  {Snick- 
ers sillily.)  the  girls  {Shakes  himself  and  coyly 
chuckles.)  were  so  good  to  me!  {Hic-coughs.) 
{Sits.)  I  like  Afternoon  Tea  hugely  when  served 
by  a  bewitching  wench.  {Chuckles  again.)  I 
certainly  have  a  nice  bunch  of  girl  friends,  Mrs. 
Plunkett,  but  your  daughter— 


DUPED  67 

Mrs.  Plunkett 
Oh  yes,  let  us  do  business.     Now  as  I  under- 
stand from  your  mother,  you  desire  to  marry  my 
daughter  Geraldine. 

Toby 

{Gets    up,    staggers    toward    Geraldine    but    the 

mother  wishing  to  avoid  familiarity  steps  between 

them.      Toby  staggers.)     Yep.     Just  as  soon  that 

it  be  Geraldine  as  any  of  the  girls.     (Hic-coughs.) 

{Enter  Tom.) 

Tom 
Hello  Lancelot.     Ah  you  heartbreaker,   making 
more  conquests. 

Toby 
Well  you  see,  I  get  'em  coming  and  going.    The 
girls  can't  resist  my  charms.      {Laughs  foolishly.) 
I'm  just  getting  acquainted  with  the  folks. 
Tom 
I   am  delighted  to  have  you  know  my  mother. 
Have  you  had  a  little  of  father's  favorite  brand? 
Toby 
Don't  care  if  I   do!      {Tom  pours  out  glasses. 
They  toast  and  drink.) 

Tom 
To  all  fair  women.     God  bless  them. 

Toby 
To   Virgie, — and    Mamie, — and    Tootsie! — ^The 
little  heartbreakers   I   met  to-day.     Long  life  and 
happiness. 

Mrs.  Plunkett 
{Not   concealing   her   scorn   and  showing   great 
distress.)      And    now    Mr.    Bergamo,    how    much 
money  do  you  get  on  your  wedding  day?  {Coughs.) 


68  DUPED 

Of  course  you  must  realize  my  daughter  has  been 
accustomed  to  wealth  and  luxury  and  she  must  be 
assured  all  she  has  enjoyed  in  her  father's  home. 
Toby 

(Going  nearer  Mrs.  Plunkett  he  slaps  her  famil- 
iarly on  the  arm.)  Oh  never  mind  old  girl,  I  get 
enough,  but  we  won't  want  much.  You  see  I 
prefer  the  simple  life  and  two  thousand  a  year  will 
cover  that,  won't  it  Gerry?  {He  makes  ineffectual 
attempts  to  get  his  cigarette  back  into  his  mouth, 
and  Mrs.  Plunkett  dashes  in  confusion  to  other 
side  of  room,  wringing  her  hands  wretchedly,  Ger- 
aldine  goes  to  her  mother  s  side  while  Toby  goes 
to  Tom  and  in  aside  asks: 
Toby 

How  far  do  I  go? 

Tom 

{Aside  also.)  Go  the  limit.  You're  doing  fine. 
It's  having  its  effect. 

Mrs.  Plunkett 

{Comes  back  center.)  But  my  dear  Mr.  Ber- 
gamo, you  don't  for  a  moment  think  Mr.  Plunkett 
or  I  could  let  Geraldine  marry  a  man  of  small  in- 
come. Your  mother  led  me  to  believe  that  you  re- 
ceived six  millions  on  your  wedding  day,  and  five 
millions  more  at  her  death. 
Toby 

{ Taking  another  drink.)  Well  you  see  I've  come 
to  the  conclusion  that  the  white  race  has  more  than 
is  coming  to  it  so  I'm  going  to  make  John  D. 
Rockefeller's  charity  look  like  petty  larceny,  and 
devote  my  millions, — not  to  the  hookworm,  but  to 
my  ancestors,  the  anthropoid  ape.     {Mrs.  Plunkett 


DUPEt)  69 

shows  faintness  and  fans  herself  vigorously.)  Now 
I  am  convinced  that  a  little  money  and  the  milk  of 
human  kindness  would  do  a  world  of  good  for  our 
ancestors,  the  ape  family. 

Mrs.  Plunkett 

{Bursting   with    rage.)      Our   ancestors!      {She 
sneers.)      You  mean  yours!      {Tom  and  Geraldine 
cant  conceal  their  amusement.) 
Toby 

No!  No,  I  don't!  I  mean  ours.  Now  I  see  a 
great  resemblance  between  you  and  me  and  the 
anthropoid  ape.  And  I  see  a  world  of  tenderness 
in  Gerry  {Mrs.  Plunkett  choking  with  rage.)  which 
will  assist  me  in  my  work  among  our  brothers,  the 
neglected  race  of  apes. 

Mrs.  Plunkett 

Sir!     Yours  plans  are  preposterous  and  I  am  not 
in    sympathy   with    them,    neither   is    my   daughter 
Geraldine.     {She  is  at  center,  furious.) 
Toby 

{Going  toward  Geraldine  but  the  indignant  moth- 
er intercepts  him  and  she  receives  Toby's  embrace 
in  terror.)  'Scuse  me.  I  meant  to  favor  the  young 
lady.  {Tom  is  convulsed  but  he  and  Geraldine 
keep  up  the  play.) 

Mrs.  Plunkett 

{Looking  helpless  at  Tom.)  Of  course  Geraldine 
has  plenty  of  time.  She  is  young  and  I'll  take  up 
the  matter  with  you  and  your  mother,  perhaps  in 
a  few  days  again.  We'll  leave  it  now.  {Significant 
smile  of  hope  on  Tom  and  Geraldine' s  faces.) 
Toby 

No,  must  know  now.  You  see  I'm  anxious  to 
begin  my  work  with  the  apes,  poor  things,  they  need 


70  DUPED 

the  attention  of  a  pure  creature  like  Geraldine.  {He 
attempts  to  sit  on  piano  stool,  loses  his  balance,  and 
in  his  frantic  endeavor  to  recover  his  equilibrium, 
he  grasps  the  piano  covering,  which  has  upon  it  a 
cut-glass  vase  and  a  Venetian  vase  and  a  Winged 
Victory  in  White  Carrara  marble.  By  catching 
hold  of  cloth  he  brings  the  vase  of  flowers  down  on 
himself  and  dripping  with  water  after  balancing  on 
stool,  feet  in  air,  he  lands  a  sorry  heap  on  the  floor. 
Mrs.  Plunkett  and  Geraldine  scream  and  rush  and 
seize  the  vase  and  statue,  while  Tom  is  bent  with 
laughter  up  right  front.  Before  Toby  gets  his  feet, 
the  Butler  enters.) 

Butler 

Mr.  Billy  Nevins. 

Mrs.  Plunkett 

{Effusively.)  Show  him  in  at  once.  {Tom  is 
helping  Toby  to  his  feet  and  Geraldine  goes  for- 
ward with  mother  to  greet  Billy.  Tom  and  Toby 
embrace.)  My  dear  Mr.  Nevins,  I  am  so  delighted 
to  see  you.  Geraldine  has  unbosomed  her  secret 
and  I  offer  you,  my  dear,  a  mother's  blessing.  {She 
plants  a  kiss  on  Billy's  brow.  Tom  and  Toby  are 
all  smiles.) 

Mrs.  Plunkett 

Ah  Mr.  Bergamo,  let  me  present  Mr.  Nevins. 
{Billy  is  about  to  give  the  whole  thing  away  for 
he  knows  the  real  Lancelot, — when  Toin  attracts 
his  attention  from  behind  his  mother,  cautioning 
Billy  to  keep  silence.  Billy  merely  grins  and  ac- 
knowledges the  introduction.)  This  is  my  daugh- 
ter's fiancee.  He  has  tastes  only  for  the  humans,  so 
I  fear  Mr.  Bergamo,  you  must  uplift  the  apes,  your 
brothers,  alone! 


DUPED  7i 

Toby 
No  indeed  madam,  I  expect  a  whole  bevy  of  girls 
to  embrace  the  privilege.     It's  so  awkv^ard  to  love 
money. 

Mrs.  Plunkett 
Tom,  shov\^  Mr.  Bergamo  to  his  car,  and  order 
my  run-a-bout,  for  I  w^ant  you  to  look  in  at  the 
Metropolitan  w^ith  me  for  the  third  act  of  Lohengrin. 

Toby 
{Radiant  with  smiles.)  Good-night  Miss  Plun- 
kett, I  vvrish  you  both  much  happiness.  {He  shakes 
hands  with  Billy,  winks  knowingly  and  goes  up  to 
Mrs.  Plunkett  who  haughtily  turns  away  and  up 
stage. ) 

{Tom  and  Toby  go  out  arm  in  arm  while  the 
lovers  are  smiling  and  talking.) 
Billy 
{Goes  to  Mrs.  Plunkett.)     Really  Mrs.  Plunkett, 
I  am  almost  speechless  w^ith  joy.     I  came  here  de- 
spondent of  success  for  I  feared  you  did  not  favor 
my  suit,  but  now  I  can  only  ask  you  to  fill  my  cup 
of  bliss  and  name  an  early  wedding  day. 
Mrs.  Plunkett 
My  dear  boy,  my  only  thought  is  my  child's  com- 
plete happiness,  and  now  while  Tom  and  I  look  in 
at  the  opera,   I  shall  leave  you  and   Geraldine  to 
decide  the  matter  for  yourselves.     {Exit  Mrs.  Plun- 
kett.) 

Geraldine 
Billy!      {Rushes  into  Billy's  outstretched  arms.) 

Billy 
Make  it  next  month.     {Butler  enters  unseen,  he 


11  DUPED 

coughs  but  cant  attract  them  from  their  embrace, 
then  in  a  loud  tone  he  announces  significantly.) 
Butler 
Mr.  Lancelot  Bergamo! 

Geraldine 
{Stops  kissing  Billy  long  enough  to  say.)      Tell 
him  Miss  Plunkett  is  engaged! 

CURTAIN 


MY  FRIEND'S  IN  TOWN 
A  PLAY  IN  ONE  ACT 


SCENE 


Library  in  fashionable  apartment.  Book  shelves; 
in  center  a  desk  ivith  books  on  it.  Telephone  on 
library  table.  Sofa  down  in  front  at  right.  A 
door  in  rear  at  left.  Window  in  center  at  rear. 
Book-case  on  left.     Chairs,  cushions,  etc. 


CHARACTERS 

Mortimer  Harcourt. 
SusANNE  Harcourt,  {his  wife.) 


TIME 

Evening. 

COSTUME 

Both  dressed  for  opera. 


My  Friend's  in  Town 

Curtain  as  Harcourt  enters, 
Harcourt 

Well  if  this  isn't  a  pretty  mess!  To  think  my  old 
friend  Billy  Farnham,  should  come  back  to  town 
when  I  am  tied  up  with  an  opera  engagement  with 
my  wife.  {Lights  cigar.)  Why,  I  was  so  glad  to 
see  the  old  chap,  confound  the  luck,  I  forgot  all 
about  the  opera  and  promised  to  make  up  a  poker 
game  with  two  more  New  Haven  fellows  at  the 
Savoy  to-night!  Beastly  mess!  Farnham  is  one  of 
the  cleaverest  chaps,  but  there's  my  wife!  She'll 
cry  her  pretty  eyes  out,  bless  her  heart,  if  I  break 
my  promise.  Hang  it  all !  How  shall  I  get  out  of 
this?  Confound  the  luck.  (Goes  to  table.)  Hello, 
what's  this  she's  reading?  {Opens  book  and  shows 
astonishment.)  Umph!  Underlined!  ''Vitality  in 
a  woman  is  a  blind  fury  of  pro-creation!"  Well,, 
this  is  interesting!  {Looks  at  title  of  book.  Reads:) 
''The  Sense  of  the  Beautiful."  Well  I  like  that! 
It  scents  something  all  right, — smells  bad!  {Seated 
on   table  sings.) 

"Whoever  has  married  a  minion  wife. 
Has  had  a  good  chance  and  hap, 
Must  love  and  cherish  her  all  his  life, 
And  dandle  her  in  his  lap. 

If  she  will  fare  well,  if  she  will  go  gay, 
A  good  husband  ever  still, 
Whatever  she  wishes  to  do  or  to  say, 
Must  let  her  have  her  own  will, 
77 


78  MY  FRIEND'S  IN  TOWN 

About  what  affairs,  wherever  you  go, 
You  must  show  her  all  your  mind. 
More  of  your  counsel  she  may  not  know 
Else  as  a  man  you're  unkind!" 

{Picks  up  another  book  and  reads.)  "A  self- 
sacrificing  woman  is  so  kind  in  little  things.  A 
man  is  nothing  to  her  but  an  instrument  of  her 
purpose."  Great  Scott!  Where  did  my  wife  get 
that  book?  {Looks  at  title,  reads'.)  "Maxim 
Gorky."  Why,  she'll  be  interlining  Mrs.  War- 
ren's Profession  next!  {Picks  up  another  book.) 
"A  man  in  love  walks  straighter  and  dresses  bet- 
ter." Well,  who  is  she  studying  now?  {Puts  down 
book.)  Is  it  me  or  the  other  fellow?  {Struts  about, 
looking  at  himself.)  {Sings.)  "I  have  a  hunch, 
etc." 

Enter  Mrs.  Harcourt. 

I  have  it.     {Puts  on  severe  air.) 

Susanne 
Ah,  there  you  are,  sweetheart. 

Mortimer 
Am  I  the  fellow  {Savagely.)  who  walks  straight- 
er because  I'm  in  love? 

Susanne 
{Puzzled.)      Why   dearest — 

Mortimer 
{Yells.)     Who  is  this  man  that  dresses  better 
because  you're  in  love  with  him? 
Susanne 
{Gasps.)     Mortimer! 

Mortimer 
{Yelling  louder.)     Mrs.  Harcourt!! 


MY  FRIEND'S  IN  TOWN  79 

(She  gets  on  the  other  side  of  table  as  if  afraid 
of  him,  he  dashes  after  her,  catches  her  by  wrist  and 
hauls  her  over  to  the  table  where  he  points  to  books.) 

Madame,  explain  your  conduct  by  reading — tell 
me-e! 

Susanne 

{Breaks  away,  stammers  under  breath.)  My 
God,  he's  crazy.  {Takes  refuge  behind  sofa.)  Mor- 
timer dear,  listen.    I  was  studying  the  artistic,  the — 

Mortimer 

{Dashes  after  her,  she  runs  around  table.)  Study- 
ing how  woman's  vitality  is  more  intense  than  man's! 
Woman,  this  is  shameful! 

{She  is  now  weeping.) 

You're  not  fit  to  be  near  our  child. 

{She  screams.) 

I  shall  protect  him  against  contamination  with 
the  reader  of  Maxim  Gorky,  et  cetera!  B-r-r-rh! 
{Points  to  book  on  table  where  he  has  seated  him- 
self.) 

Susanne 

{Pleading,  crying.)     Mortimer,  hear  me.    {Com- 
ing toward  him  gingerly,  for  she  thinks  he  is  out 
of  his  mind.)     I — I — boo-hoo — I  can  explain — 
Mortimer 

Explain  nothing,  you  are  lost  to  me!  {Grand 
pose.) 

Susanne 
{Crying  hysterically.) 
{He  is  puzzled  as  to  how  his  scheme  is  working.) 

Mortimer 
{Aside.)     Works  fine! 


8o  MY  FRIEND'S  IN  TOWN 

Susanne 
{She  springs  up  to  dry  her  tears.)      You  are  a 
cruel  brute,  and  I  shall  go  home  to  my  mother  and 
take  Mortimer,  Jr.,  with  me! 

Mortimer 

{Realizing  the  jig  is  up.  goes  to  her  and  at- 
tempts to  embrace  her.)  Take  me  too.  Forgive  me 
darling. 

{She  rushes  into  his  arms,  he  wipes  her  tears 
away  and  fusses  over  her.  She  snuggles  up  coquet- 
tishly.) 

Great  Scott!  dear,  you  looked  just  like  you  did 
that  night  long  ago  when  we  had  that  quiet  little 
supper  at  Mowbray's! 

{She  looks  surprised.)  Don't  say  no,  yes,  yes 
you  do.  {Rubs  his  hands  and  chuckles  in  extreme 
delight  as  he  recalls  that  evening.)  What  a  bird 
and  cold  bottle  that  was  and  how  gay  and  sweet 
you  were! 

Susanne 
{Opens  mouth  as  if  to  speak,  thinks.)    I?    {Looks 
puzzled. ) 

Mortimer 

Oh,  yes,  {Rushing  on.)  you  were  glorious! 

{She  is  wide-eyed,  still  waiting  in  amazement.) 

{He   embraces   her  vigorously.) 

How  you  cavorted  and  capered  about!  {He 
dances  a  little  bit  of  ballet  to  show  her  how  she 
did  on  that  night.)  I  took  you  like  this:  {Picks 
her  up  and  puts  her  on  the  table,  while  she  is  dumb 
with  amazement.)  Give  me  the  step  again,  sweet- 
heart ! 


MY  FRIEND'S  IN  TOWN  8i 

Susanne 
{Jumps  down  and  shrieks.)      You  deceiver!    O 
Oh-o— h! 

Mortimer 
{Aside.)     What  a  damnable  break.     'Twas  the 
girl  Estelle! 

Susanne 
You  brute,   I   hate — I   hate  you.      {Stamps   her 
foot  and  cries  violently.) 

Mortimer 
{Very,  very  much  confused.     Gibbers  and  stam- 
mers, rubbing  his  hands  in  nervous  fear.)      Just  a 
little  joke  Susanne, — a-yes,  a  josh — a — 
Susanne 
Don't   speak    to   me    {Falls    into    chair.)    I    am 
broken-hearted.     {She  springs  up.)     I  shall  go  home 
to  my  father  and  he'll — 

Mortimer 

Darling,  it  was  fun, — I — fun !  Oh  see  here,  little 
one,  you're  all  the  world  to  me,  my  sun,  comet  and 
old  Mars  himself.  Forgive  my —  {She  still  waves 
him  away  from  her.) 

Mortimer 

{Aside.)  Worse  and  worse.  How  shall  I  get 
to  that  card  game?  Forgive  me,  Susanne!  I'm  a 
brute  I  know! 

{She  rushes  into  his  arms.  While  she  is  still 
in  his  arms,  he  groans  in  great  agony.) 

Oh-o-oh!     Oh  my  head! 

Susanne 
{Alarmed.)     Why  what  is  it?     Oh,  let  me  do 
something ! 

{Both   moaning.) 


82  MY  FRIEND'S  IN  TOWN 

Mortimer 
Oh!     Oh,  oh!  my  head. 
{She  assists  him  to  sofa.) 

Susanne 

Lie  down  dear  until  I  see  what  I  can  do  for  you. 

{He  falls  on  sofa  and  groans  louder,  his  face 
awry.) 

Oh  dearest  what  shall  I  do,  what  shall  I  do? 
{Gets  smelling  salts  and  fans  him.)  Let  me  see; 
what  is  good  for  a  pain  in  the  head?  I  have  it! 
Mamma  used  to  say  a  mustard  plaster. 

{He  starts  up  in  awful  dread  of  the  remedy.) 

Yes,  I'm  sure.  There  dear,  lie  quiet  while  I 
get  a  plaster  from  the  kitchen. 

{She  helps  him  out  of  his  evening  coat  and  fetches 
lounging  robe  from  room  at  left.) 

{While  she  is  out  he  attempts  to  phone  Billy 
Farnham.) 

Mortimer 

Before  the  plaster  gets  in  its  work  I  had  better 
phone  Bill! 

{Enter  Susanne.  He  dives  for  sofa,  she  almost 
catches  his  deception.) 

Susanne 

Any   better? 

Mortimer 

I — oh,  yes.  Oh  I  am  terrible — terrible  still. 

Susanne 
{Picks   up   his  coat  and  box  of  poker  chips  fall 
out.)    Mortimer,  where  did  these  come  from? 
Mortimer 
I   took  them   from  the  baby  in   the  yard.      {In 
great  pain.) 


MY  FRIEND'S  IN  TOWN  83 

Susanne 

{Puts  them  on  the  table  and  helps  him  into  his 
robe.) 

I  will  get  the  mustard  plaster,  keep  very  quiet 
darling.     {Exit  L.) 

Mortimer 

{Rushes  to  telephone,)  Hello,  give  me  172.  Yes, 
hello,  that  you  Farnham?  Yes.  Waiting!  So  am 
I.  No,  an  opera  stunt!  Yes. — Excuse  myself? — 
Oh  shake  down  Billy — it's  my  wife.  Come,  now 
don't  talk  like  a  web-footed  Rube!  Hang  it!  Aw- 
fully cut  up  over  it.  Oh  yes,  ha!  ha!  You  bet 
I'll  be  there  in  twenty  minutes.  {Hears  Susanne 
outside.)  Now  for  the  plaster.  {He  dives  for  the 
sofa,  showing  terrible  suffering.) 
Susanne 

{Enters  with  two  great  mustard  plasters.)  There 
now.  {She  ties  one  on  his  forehead.)  Take  off 
your  collar.     I  must  put  one  on  your  neck. 

{He  looks  in  great  terror,  but  tears  off  collar 
and  loosens  shirt  and  she  ties  the  plaster  on  his  neck. 
He  settles  into  the  cushions.) 

{She  turns  away  to  table.) 
Mortimer 

{Howling  from  real  pain  now.)  Oh!  Oh! 
( Tears  off  plaster  from  forehead,  flings  it  away, 
tears  around  room.  Then  feels  the  other  one  burn- 
ing on  his  neck — attempts  to  get  it  off  and  it  slips 
down  on  his  back.  Fie  yells  and  kicks  over  chairs 
in  his  mad  flight  around  the  room.) 

{Susanne  runs  excitedly  after  him.) 

Reach  it!  Reach  it  Susanne!  {Tears  at  plaster 
down   his  back.     Feels  his  leg  fearing  it  will  slip 


84  MY  FRIEND'S  IN  TOWN 

farther, — all    the     time    running    and    struggling. 
Finally  rolls  on  the  floor.) 

{Susanne  catches  him  as  he  rolls  around.) 

Susanne 
Let  me  darling.     I  can  get  the — the — brute! 
{Both  moaning.     She  assists  him  to  sofa.) 

Mortimer 
(Turns   fiercely.)      Whoever   said    mustard   was 
good  for  a  pain  in  the  head? 
Susanne 
(Meekly.)     My  mother. 

Mortimer 
Well,  she's  a  lemon!     Why  she  could  put  Jim 
JefFries  in  his  corner  with  three  like  them!     Why 
she  ought  to  be  strung  up!     (Feeling  of  his  back.) 
D — m  fool!     Idiot. 

Susanne 
(Begins  to  cry.)      Boo-hoo — to  think  you  would 
say  such  things  about  my  mother !     OH !     I  can't 
endure  it! 

Mortimer 
Come  dear,   I   was   rash,   my  head   is  so  bad — 
forgive  me.    There's  the  sweetest  little  girl!  (Kisses 
her — still  keeps  up  the  feigned  sickness.) 
Susanne 
I  presume  I  am  cruel  to  you  dear, — boo-hoo.  And 
you  suffer  so.     (Sobs.)     Oh,  I  hope  you'll  be  better 
soon!     (Wipes  tears.)     Can  I  do  anything  to  make 
you  feel  more  comfortable? 

Mortimer 
Yes,  give  me  a  step. 

Susanne 
(Does  a  fancy  dance.)      Oh  Mortimer,  you  re- 


MY  FRIEND'S  IN  TOWN  85 

member  we  were  to  take  Jane  with  us  to-nfght. 

{He  does  more  funny  stunts  in  the  feigned  sick- 
ness.) 

Mortimer 
Oh  Susanne,  I  can't  go.     I  feel  awful! 

Susanne 
Well,  I  will  call  Jane  up  and — 

Mortimer 
— and  tell  her  you  will  go. 
Susanne 
And  you  so  ill?    I  couldn't  think  of  it  a  moment. 
Leave  you — I — 

Mortimer 
{Excited,  fearing  she  wont  go.)     Oh,  I  wouldn't 
think  for  a  moment  of  letting  you  stay  at  home. 

Susanne 
But  I  can't  feel  right  about  going  and — 

Mortimer 
Nonsense!  I  am  all  right  {Capers,  then  recovers 
his  role.)  t-th-that  is,  or  I — I  am,  better!  Now 
don't  be  foolish.  Don't  let  a  little  thing  like  that 
upset  your  plans.  I  will  lie  on  the  sofa  quite  com- 
fortable.     {Aside.)      I  won't  say  how  long! 

Susanne 

Well    I   will   call   Jane.      {Goes   to   telephone.) 

{He  shows  great  joy.) 

{She  turns.) 

Do  you  think  I  ought  to  leave  you? 

{He  waves  aside  her  soliciation.) 

Hello!  4120  please.  Yes.  This  you  Jane? 
Yes,  this  is  Susanne.  Oh  Jane,  Mortimer  is  so 
sick — well  I  mean  quite  sick;  I  am  sorry — 

{He  starts.) 


86  MY  FRIEND'S  IN  TOWN 

— but  he  will  stay  at  home  and  I  will  call  for 
you.  No,  I  think  he's  some  better.  Oh,  I  was  so 
frightened  yes,  I  nearly  died,  Oh  sure — he  is  better, 
aren't  you  dear?  {Nearly  catches  his  by-play.) 
I  will  drive  over  for  you  at  once. 
Mortimer 

Here,  jump  into  your  cloak,  it  is  getting  late. 
Susanne 

But  my  dear,  you  must  not  exert, — ^let  me  fix 
you  on  the  sofa.  Oh  yes,  you  must.  There.  Here 
are  the  salts,  the  brandy,  now  do  be  very  quiet. 
{Bids   him  good  bye.) 

Mortimer 

Pleasant  time  little  one. 

{She  throws  kisses,  goes  out  and  taking  key  from 
the  inside  of  door,  locks  it  from  outside.) 

{He  springs  up,  grabs  box  of  dice  and  throws 
them  chuckling  and  singing:)  Seven,  come  eleven! 
Four,  eleven,   forty-four. 

SINGS!    "LOVINGLY   TO   AGREE,"    ETC. 

"A  thing  very  fit. 
For  them  that  have  wit 
And  are  fellows  knit. 
Lovers  in  one  house  to  be. 
Is  fast  for  to  sit. 
And  not  oft  to  flit, 
Nor  vary  a  whit, 
But  lovingly  to  agree. 

No  man  complaining. 
No  other  disdaining, 
For  loss  or  for  gaining, 


MY  FRIEND'S  IN  TOWN  87 

But  lovers  or  fellows  to  be. 
No  grudge  remaining, 
No  work   refraining, 
Nor  help   restraining 
But  lovingly  to  agree. 

No  man  for  despite, 
By  word  or  by  right, 
His  fellows  to  write, 
But  further  in  honesty. 
No  good  turns  to  fight, 
Nor  old  sores  recite, 
But  let  all  go  quite, 
And  lovingly  to  agree." 

Tee-e-de-de-tiddle  de  a  dum!  {Whistles  glee- 
fully, gets  on  overcoat  and  hat,  tries  door  and  finds 
it  locked.) 

Well,  this  is  hell! 

{Looks  around  confused  a  moment,  then  his  face 
brightens, ) 

The  Fire  Alarm!      {He  rushes  and  turns  in  the 
alarm,  and  in  a  moment  a  fireman  hoists  a  ladder 
up  to  the  rear  window  and  comes  dashing  in  carry- 
ing a  hose,  while  another  breaks  in  the  door.) 
Mortimer 

{Very  excited.)  There!  There!  {Pointing  to 
the   corner.) 

{Firemen  rush  there.) 

{Har court  gets  out  of  window  and  as  he  goes 
down  the  ladder  he  holds  up  a  pack  of  cards,  show- 
ing the  ace  and  jack.) 

{Firemen  still  looking  wildly  for  fire.) 
CURTAIN 


THE  MYSTERY  OF  BEACON  HILL 
A  PLAY  IN  ONE  ACT 


SCENE 


The  living  room  of  a  log-house,  the  home  of  Mrs. 
Page.  It  is  the  typical  log-cabin  of  the  mountains. 
Big  fire-place  at  center  rear.  Broad  double  windows 
on  each  side  of  fire-place,  so  that  the  snow-covered 
peaks  of  the  mountains  are  seen.  At  R.  rear  a  door. 
In  corner  a  cupboard  with  dishes  and  farther  front, 
R.  a  lounge  covered  with  furs.  At  Right  front  a 
table,  chair  on  left  of  table.  Book-shelves  filled 
with  books  on  left  and  door  at  left  rear  with  two 
steps  leading  up  to  door.  Arm-chair  at  left  front 
and  at  wall  left  front,  old  desk  with  photograph  of 
a  man  resting  on  it.   Front  center  a  large  skin  rug. 


CHARACTERS 

Bill  Giddings,  Owner  Montezuma  Mine.  And  a 
candidate    for   representative. 

Jack  Putnam,  Superintendent  of  Gold  Coin 
Mine. 

Betty,  Eigth-y ear-old  daughter  of  Mrs.  Virginia 
Page. 

Mammy,  Betty's  colored  nurse. 

Mrs.  Virginia  Page,  A  Woman  With  a  Past. 
The  Teacher  in  the  School,  also  candidate  for 
representative. 


PLACE 

Beacon  Hill  Gold  Camp.     The  Home  of  Mrs. 
Virginia  Page. 

TIME 

Eight  o'clock  in  the  evening. 


The  Mystery  of  Beacon  Hill 

DISCOVERED 

Betty  on  rug  down  front,  playing  with  a  Teddy 
Bear  on  which  she  is  trying  to  put  a  pair  of  jumpers. 
On  the  rug  beside  her  is  her  violin  and  bow  and  a 
couple  of  old  dolls  and  wagon.  Mammy ,  the  colored 
nurse  is  fussing  with  dishes  at  cupboard  at  Right. 
Mammy 

Gawd  love  you  honey,  ah'd  like  to  let  you  play 
a  little  while  longer,  but  yu  ole  mammy  has  got 
to  mine  wat  missus  says,  as  well  as  my  lady  Betty 
has.      {Comes  up  front  shaking  finger  at  Betty. ^ 
Betty 

{Pettishly.)  But  Mammy,  I  want  to  put  my 
Teddy's  jumpers  on,  'cause  he'll  get  his  white  coat 
dirty. 

Mammy 

Yes,  yes,  lovey,  but  it's  time  to  git  yu  music  lesson 
{Betty  drops  Teddy  and  takes  her  violin  and  bow.) 
or  else  youse  ole  mammy  neber  will  dance  to  dat  ole 
Dixie  song. 

Betty 

{Springs  up.)     Yes  you  will  Mammy.     Hurry. 
{She  starts  to  play  Dixie  and  after  a  bit  of  surprise 
from  Mammy,  the  old  nurse  begins  to  jig.    Betty 
shouts.)      Now  see  Miss  Mammy! 
Mammy 

{Out  of  breath.)  Whew!  Yu — h!  Come 'long 
now,  no  more  fun,  jes  your  lesson.  {Exit  left.  Enter 
Mrs.  Page  stack  of  books  on  her  arm.  Comes  up 
center,  puts  them  on  table.) 

93 


94     THE  MYSTERY  OF  BEACON  HILL 

Mrs.  Page 

Oh,  such  a  trying  day!  It  is  an  hour  since  the 
polls  closed  and  I  shall  soon  know  my  fate.  If  I 
hadn't  wanted  to  get  a  Miner's  Liability  Law 
through,  I  should  never  have  made  the  race  for  the 
Legislature.  But  something  must  be  done  to  pro- 
tect the  wives  and  children  of  miners  who  are  killed 
or  crippled  in  the  mines,  and  through  the  fault  of 
the  mine  owners.  The  little  fatherless  children 
must  be  cared  for.  (Music  from  Betty's  violin.) 
A  badly  supported  mine  left  my  own  darling  father- 
less, and  I  shall  use  all  my  power  if  I  am  elected  to 
get  that  law  through.  (Violin  again  heard.)  Oh, 
my  darling  song-bird,  you  will  never  know  what 
I  have  endured  in  this  campaign.  They  say  (Sits 
at  table.)  the  election  of  this  county  is  determined 
by  the  precincts  of  this  camp,  and  with  only  a  total 
of  1, 600  votes,  the  count  must  soon  be  over.  (Rises, 
shuts  fists  hard.)  And  after  all  the  whisperings  I 
have  heard  behind  my  back!  (Musing.)  What  if 
I  am  defeated — Bill  Giddings  will  go  to  the  Legis- 
lature! But  that's  impossible.  (She  stoops  and 
picks  up  the  Teddy  Bear  and  play-wagon.)  My 
darling  baby,  the  secret  is  sacred  and  it  is  mine! 
What  right  has  any  one  to  intrude  upon  your  past 
and  mine!  (Betty  plays  Spring  Song.)  Ah  preci- 
ous baby-girl,  the  music  of  Spring  and  birds  is  in 
your  heart  and  fingers,  but  they  left  my  heart  years 
ago.  I  defied  Bill  Giddings  and  the  curious  public 
in  this  campaign  and  faced  the  sorrow  all  over  again, 
my  darling  child,  for  your  sake  and  his!  (Buries 
face  in  hands  and  stifles  a  sob.  A  knock  is  heard  at 
door.    She  busies  herself  removing  hat  and  does  not 


THE  MYSTERY  OF  BEACON  HILL     95 

turn.)     Come  in! 

Enter  Bill  Giddings. 

{He  is  dressed  as  a  miner,  his  gait  is  slouching 
and  has  a  mean  look  in  his  face.) 
Mrs.  Page 
You!     How    dare    you    come    here!      I'll    call 
Mammy.     {She  starts  for  door  at  left.) 
Giddings 
{Catches  hold  of  her  and  swings   her  down  in 
front  again.)     No  you  don't.     {He  stands  in  center 
front.)     Now  look  here.     I've  had  enough  of  youi 
fine  talk  and  high  airs,  and  I  stands  no  more!    See! 
Mrs.  Page 
{Calmer.)     We'll  not  discuss  my  airs  now, — but 
the  election  first, — ^what  does  Beacon  Hill  do? 
Giddings 
It  goes  600  Democratic,  and  that  defeats  me! 

Mrs.  Page 
Then    I'm    elected    a    legislator    for    Colorado. 
Hurray!      {Shows  much  delight  over  the  news.) 

Giddings 
Not  so  fast!     You  may  be  elected,  but  I  doubt 
that  you'll  ever  serve.     There  are  some  things,  that 
aint  quite   right. 

Mrs.  Page 
{Comes  closer  to  him.)  Who  or  what's  to  pre- 
vent me!  Now  see  here  Bill  Giddings,  you  never 
set  foot  under  my  roof  before,  and  since  I  tolerate 
your  presence,  I'll  refuse  to  be  bullied.  {Puts  hand 
under  plait  of  her  skirt  showing  pocket  and  gun. 
She   rests   her  hand  there.) 

Giddings 
Oh,  I'll  not  harm  you.     Yes  I  knowed  you  did 


96     THE  MYSTERY  OF  BEACON  HILL 

not  know  who  It  was  when  you  piped  up  "come 
in;"  but  I  came  to  talk  to  you  and  you've  got  to 
listen.  I  ain't  so  bad  a  sort,  I  have  rough  ways, 
p'rhaps,  but  I've  got  the  dough  and  you  haint,  and 
all  I  lack  in  other  things  you've  got.  A  couple  of 
trips  across  the  big  pond  will  fix  me  all  right.  Say 
is  it  a  go?  {He  comes  closer,  she  waves  him  off, 
and  moves  backward,  her  hand  all  the  time  on  gun 
showing  she  does  not  trust  him.) 
Mrs.  Page 

You're  mad  to  even  think  of  such  a  thing.  Again 
I— I— 

Giddings 

But  I  loves  you,  I  adores  the  ground  you  walks  on, 
an  I'll  do  well  by  the  kid. 

Mrs.  Page 

No  more!     (Sneeringly.)     You  do  for  his  child! 
Oh  the  thought  is  maddening  to  me.     Go! 

Giddings 
Not  so  fast.  Suppose  I'd  tell  the  school  board 
what  I  know,  how  long  will  you  have  your  place  in 
the  school?  Spose  I'd  tell  them  about  her  {Pointing 
toward  left,  strains  of  violin  is  heard.)  how  long 
will  the  women  of  this  camp  know  you. 

Mrs.  Page 

Tell  them  all  you  think  you  know.     I've  proven 

in  the  eight  years  that  I've  been  here  among  them, 

that  I  am  what  they  believe  me  to  be,  a  pure,  good 

woman.     But  they  would  not  believe  you  anyhow. 

Giddings 

Let  me  tell  you  something.     I  know  your  name  is 

not  Mrs.  Page.     {She  shrinks  and  trembles.)     You 

are  not  the  wife  of  Dick  Page !     ( Throws  up  hands 


THE  MYSTERY  OF  BEACON  HILL     97 

and  staggers.)     Your  name  Is  MISS  GRAY,  and 
your  child  there  is  without  a  name! 

Mrs.  Page 
{Recovering  a  little.)  Stop!  You  do  not  know 
that  the  love  of  a  noble,  big-hearted  man  blessed  my 
baby  and  me  when  he  died.  She  was  born  of  a  love 
purer  and  nobler  than  the  peaks  of  those  great 
mountains.  (Shouts.)  Don't  use  the  name  of  Dick 
Page,  I  loved  him  dearer  than  life  and  he  is  my 
child's  father.  (Drops  into  chair  at  table,  sobs 
convulsively.) 

Giddings 

(Shrugs  shoulders.)  Bah,  Child  of  love!  Egad, 
and  you  boast  of  it!  Ha!  Ha!  Why  the  women 
members  of  the  house  of  representatives  if  they 
knew,  would  refuse  to  sit  in  the  same  room  with 
you.  But  come,  act  sensible,  don't  turn  me  down,  I 
don't  want  to  peach  on  you,  I  mean  well  by  you. 
Mrs.  Page 

(Bursting  with  emotions  which  she  choked  down 
while  he  talked.  She  rises  with  both  hands  leaning 
on  table,  and  looking  him  straight  in  the  eye,  she 
nearly  screams  her  defiant  answer.)  Now  listen. 
Bill  Giddings.  This  is  my  answer.  Go  tell  the 
people  of  this  town  and  this  state  all  you  know,  and 
more, — tell  them  all  you  insinuated  in  the  past  six 
weeks.  Proclaim  it  from  the  house-tops,  that  I  loved 
a  man  so  well  that  I  sacrificed  my  reputation  for 
him;  and  I  will  shout  louder,  "y^s,  and  were  he 
living  I  would  do  it  again!"  Tell  them  that  my 
baby  girl  called  him  "Daddy,"  and  I  will  bow  my 
head  in  honor  and  in  gratitude  for  that  one  sacred 
word!    Tell  them  that  I  loved  him  better  than  life 


98     THE  MYSTERY  OF  BEACON  HILL 

and  I  will  answer,  *  yes,  and  I  would  give  the  rest 
of  my  life  to  hear  his  voice  once  more."  He  called 
me  "Wife"  and  how  dare  you  speak  against  me! 
He  called  me  ''his  wife''  and  how  dare  you  take 
exception  to  his  choice.  Leave  me,  and  know  that 
there  is  not  a  creature  on  the  face  of  God's  earth 
that  I  despise  so  much  as  you!  {She  drops  back 
into  chair,  head  falls  on  arms  on  table  and  her 
whole  frame  is  shaken  with  sobs.) 
Giddings 

Ho !  Ho !  So  you  think  to  scorn  me.  Well  I  kin 
afford  to  be  generous,  but  if  I  was  you  I'd  take  the 
name  of  some  honest  man  {Dick  Putnam  enters 
room  from  right  rear  and  hears  Giddings  last 
speech)  and  not  go  'round  fakin'  a  dead  man's  you 
never  owned. 

Mrs.  Page 

{Rising  furiously.)     Leave  me.     Mercy, — spare 
his   memory.      {Sinks  down   in  sobs  again.)       {As 
Giddings  turns  to  go,  he  is  caught  up  short  by  Jack 
Putnam's  face  close  to  his  own.) 
Jack 

So,  you  scoundrel,  you  came  here  and  for  this. 
I  heard  your  last  remarks,  and  as  I  had  the  honor 
of  Dick  Page's  friendship  in  life,  I'll  honor  his 
memory  and  stand  between  his  wife  and  harm. 
You'll  answer  to  me! 

Giddings 

{Hand  on  gun.)     Just  let  me  enlighten  you  some 
before  you  play  the  Prince  Charming  part.     This 
woman  is  not  and  never  was  Dick  Page's  wife! 
Mrs.  Page 

{Rises  walks  to  arm  chair  and  hides  her  face  on 
back  of  chair.) 


THE  MYSTERY  OF  BEACON  HILL     99 

Jack 
You  lie!     He  called  her  wife  in  my  presence  and 
with  his  dying  breath.     That  was  enough  for  me, 
now  you  damn  dog,  what  do  you  want?      {Steps 
closer  to  Giddings,  who  backs  away.) 
Giddings 
Easy,  easy.     I  heard  his  dying  confession,  and  I 
heard  him  tell  you  that  no  minister  had  tied  the  knot. 
Mrs.  Page 
(To  Jack.)     And  you  heard  that  too?     {Coming 
toward  Jack.) 

Jack 
Yes,  Mrs.  Page,  his  word  was  as  sacred  to  me 
as  the  word  of  a  Prophet,  and  I  ask  you  not  to 
droop  in  shame  for  the  love  of  Dick  Page  was  great 
enough  to  honor  any  woman,  and  he  certainly  loved 
you. 

Giddings 
Well  he  had  a  rocky  way  of  showing  it.     {Sneer- 
ing.) 

Jack 
Giddings   I   said   a   few  moments  ago  that  you 
would  answer  to  me,  and   I  only  regret  that  the 
settlement  must  come  now  before  Mrs.  Page.     But 
since  her  honor  is  at  stake,  she  must  know  all! 

Giddings 
Stand    aside.      No   man   orders   me!      No   man 
QUESTIONS   me!     And   by   Gawd,   no  man   calls 
me!!   Have  a  care,  Jack  Putnam,  or  you'll  regret  it. 
Putnam 
{Close  to  Giddings.)     I  don't  order  you  but  I 
intend  to  question  you  right  now! 


lOo  THE  MYSTERY  OF  BEACON  HILL 

Giddings 
(Steps  back  and  quickly  draws  gun.)     O-ho! 

Jack 
{Makes    move   to    draw    his   gun,   astonished   to 
realize  he  is  not  armed.) 

Mrs.  Page 
{Stepping  quickly  toward  Giddings  and  pressing 
her  gun  to  his  temple.)     He's  not  armed,  but  I  am! 
Put  your  gun  on  the  table  or  you'll  never  live  to  tell 
the  tale! 

Giddings 
Well  seein'  it's  a  three  cornered  bizness,  I'll  do  it. 
{Puts  gun  on  table.     Mrs.  Page  moves  it  to  other 
side  of  table.) 

Jack 
Now  Giddings  tell  us  what  Dick  Page's  dying 
words  were?      {Mrs.  Page  turns  away  and  walks 
to  desk,  picks  up  photograph  and  looks  at  it.) 

Giddings 
DAMN'D  if  I'll  do  it. 

Jack 
Then  I  propose  to  make  you.  {Giddings  grabs 
for  his  gun,  but  Jack  is  too  quick  for  him.  A 
fight  ensues  and  Jack  has  Giddings  by  the  throat 
and  has  forced  him  to  his  knees.)  Do  you  still 
refuse?     Dog,  speak  or  I'll  kill  you. 

Giddings   ^ 
I — I'll  tell — yu —     {Staggers  to  his  feet.)     He — 
he  said  he  was  sorry  that  he  had  not  gotten  over  the 
range  before  the  snow  fell  and  had  the  knot  tied, — 
for — he — said — 

Jack 
Go  on ! 


The  mystery  of  beacon  hill  loi 

Giddings 
■  Well  he  said — he  said  he  loved  her  {Motions 
to  Mrs.  Page.)  better  than  life,  but  he  jes  hung 
on  working  the  claim  thinking  to  strike  the  vein 
each  day,  whtn  he  w^ould  be  rich  and  would  then 
take  her  and  the  kid  away,  git  married  and  set  up 
a  *home  in  Denver.  He  axed  you  to  be  kind  t,o  her 
and  the  youngster,  and  some  more  stuff  like  that. 
(Starts  to  go.) 

Jack 
Hold  on,  that's  not  all. 

Giddings 
That's  all  I  heered. 

Mrs.  Page 
(Coming  toward  Jack.)     Oh  let  him  go,  Jack, — 

Jack 
No!       (Waving    Giddings    back   as    he   steps    in 
front  of  him.)     He  has  lied  he  has  not  told  half. 

Giddings 

Well,  I've  told  all  I  remembered,  (Dropping 
in  chair  fronts  right.)  but  might  as  well  rest  here 
as  any  place.  (Throws  one  leg  over  another  in  a 
careless  way.) 

Jack 

Perhaps  I  had  better  help  you.  Eight  years  ago 
a  cruel  murder  (Giddings'  leg  falls  to  floor,  shozus 
terror)  was  committed.  The  woman  before  us  was 
left  broken-hearted  and  the  little  girl  in  there  was 
left  fatherless.  The  superintendent,  Dick  Page  and 
another  miner  were  descending  the  shaft  of  the 
Gold  Coin  mine.  On  the  way  down  Dick  Page 
warned  this  miner  to  cease  attentions  toward  the 
woman  who  of  all  others,  was  dearer  than  life  to 


102  THE  MYSTERY  OF  BEACON  HILL 

him ; — there  was  a  muttered  oath  from  the  miner,  a 
swaying  of  the  bucket  and  Dick  Page  was  pushed 
off  into  the  shaft  300  feet  below.  {Mrs.  Page 
utters  a  cry  of  horror.)  .  You  were  the  miner  in 
that  bucket. 

Giddings 
(Springs  up.)      It's  a  lie. 
Jack 
You  remember  now  all  right.    I  was  in  the  second 
level  and  heard  you  both. 

Giddings 
It's  a  lie  I  tell  yu!      {Greatly  excited.)      Page 
fell  over  accidentally.   I'll  hear  no  more.   Let  me  go. 

Jack 
At  his  request  we  let  it  appear  as  accidental  for 
he  said  when  dying  that  you  knew  of  no  marriage 
ceremony.  The  murder  trial  would  lay  bare  his 
heart  affairs,  and  he  wished  to  protect  the  names  of 
his  wife  and  baby.  Dick  Page  was  pushed  down 
that  shaft  300  feet  to  his  death  and  you  did  it.  I 
am  prepared  to  hand  you  over  to  the  proper  officers 
this  minute,  and  you'll  hang  by  the  neck  like  a  dog 
as  sure  as  you  stand  there. 

Giddings 
{Fumbling  his  hat.)      Well   Page  asked  you   to 
keep  it  from  the  world.     {Leering.)     But  if  I  hang 
there'll  be  some  nice  bits  of  gossip  go  out  {Nodding 
toward  Mrs.  Page.)  from  that  trial  before  I  do. 

Jack 
Yes,   and  she   is  the  only  thing  that  stands  be- 
tween you  and  the  gallows.     Now  take  your  choice, 
close  your  lips  forever  or  face  a  murder  charge  in 
the  morning. 


THE  MYSTERY  OF  BEACON  HILL  103 

Giddings 
{Falls  into  chair  much  relieved.)     Well  I  nevei 
intended  to  tell  it,  and  I  reckon  I  never  will. 

Jack 

Now  just  to  make  sure  of  it.  If  you  ever  breathe 
a  word  about  Dick  Page's  wife  and  baby,  every 
miner  in  this  camp  will  take  pleasure  in  helping 
me  pull  the  rope  to  which  you  are  dangling  from  the 
other  end.  Now  get  out  of  here.  Take  your  gun 
and  don't  forget  about  that  knotted  rope.  {Gid- 
dings slinks  out.) 

Mrs.  Page 

Mr.  Putnam,  and  you  knew  it  all  the  time. 

Jack 
Say,  call  me  Jack,  just  the  same  as  usual,  and 
forget  this  unpleasant  scene.  Of  course,  you  know, 
you  are  elected.  But  my  news,  my  news;  your  claim 
and  the  baby's  opened  up  a  half  million  dollar  vein 
to-day  and  it  is  liable  to  produce  millions  besides 
what's  in  sight  now. 

Mrs.  Page 

Oh  glorious!  Dick  always  said  it  would  pan  out 
into  millions.  {Turns  goes  toward  door  at  left.) 
Oh  Betty  come,  {Betty  runs  out,  violin  under  arm.) 
Betty,  we  are  rich.  No  more  school-teaching  dear, 
and  mother  and  you  will  go  to  Europe  where  great 
teachers  will  teach  my  baby  the  music  she  needs. 
{They  embrace  each  other.) 
Betty 

Really  mother!  Oh  I'm  so  glad.  {She  sees  Jack.) 
Will  Mister  Jack  go  too,  mother?  {Goes  to  Jack 
climbs  into  his  lap.)     Why  don't  you  kiss  me? 


104  THE  MYSTERY  OF  BEACON  HILL 

Jack 

Well  I  must  be  growing  old  I  guess  to  forget  my 
gallantry  to  ladies.  {Kisses  her  on  the  brow.  Throws 
front  of  coat  aside.)     There  is  something  in  there 
for  you.     {She  searches  his  pockets.) 
Betty 

Oh  mother!  {Runs  to  mother  who  watches  them 
with  a  sad  face.  Takes  sticks  of  brightly  colored 
candy  out  of  bag.  Then  runs  to  rug  picks  up  old 
shattered  doll.)  Baby  dear,  listen,  we  are  rich, 
and  we  are  going  to  Europe.  {Picks  up  violin 
zuhile  Mrs.  Page  strolls  to  fire-place.  Jack  watches 
Betty  a  moment.)  Dolly,  when  I  get  to  Europe 
the  Music  Master  will  say, — ''Here's  Betty  Page, 
all  the  way  from  Colorado"  and  he  will  ask, — 
"Betty  do  you  know  your  lesson?"  and  I'll  say, 
"Yes-sir"  and  I'll  play  like  this:  {Plays  a  lively 
hit  of  music.)  {Jack  joins  Mrs.  Page  and  as  Betty 
finishes  Mammy  comes  in  goes  to  Betty.) 
Mammy 

Come  heah  honey,  time  for  chicks  like  you  to  go 
to  bed. 

Betty 

But  Mister  Jack  is  here,  I  want  to  stay  up  longer, 
Mammy. 

Mrs.  Page 

No  dear,  my  little  girl  must  go  to  bed  now. 
{Betty  takes  Mammy's  hand  with  violin  under  arm, 
goes  off  with  Mammy.  Turns  on  steps  and  throws 
kiss  to  Jack.) 

Betty 

Good-night  Mr.  Jack. 


THE  MYSTERY  OF  BEACON  HILL  105 

Jack 
Good  night  Betty  dear.   Come  home  from  Europe 
to  Mister  Jack  again.     {Exit  Betty  and  Mammy.) 

Mrs,  Page 
It  seems  too  good  to  be  true.     Betty  and  I  rich, 
the  tongue  of  scandal  hushed,  and  you  are  still  my 
friend.      {Stretches  her  hands  to  him.) 

Jack 

Won't  you  let  me  tell  you  again  what  my  heart  is 
bursting  to  say?  Your  reasons  are  nonsense.  {I^eads 
her  down  front.)  I  love  you,  Virginia,  I  love  your 
child,  let  me  be  a  protector  to  her  and  your  devoted 
lover  for  the  rest  of  your  days.  {He  grasps  her 
hands. ) 

Mrs.  Page 

If  I  could  only  decide  that  it  is  right.  You  have 
shown  your  love  for  me  in  so  many  beautiful  ways, 
but  I  can't  be  certain  of  its  justice  to  you.  I  only 
know  I  feel  a  longing  for  some  kind  arm  to  be 
stretched  out  to  Betty  and  me.  But  I  can't  make 
myself  believe  that  I  shall  mean  anything  in  return 
for  your  great  love. 

Jack 

Let  me  decide  for  you.     Say  yes,  Virginia. 

Mrs.  Page 
No,  that  would  not  be  fair  to  you.  I  have  had 
my  romance  as  every  woman  should  do,  and  my 
heart  is  still  calling  and  pleading  for  those  old  day;^ 
of  bliss  to  come  again.  The  kindness  you  have 
shown  me  all  these  years,  deserves  a  love  palpitating 
with  passion,  it  deserves  a  heart  bursting  with  a 
response  as  big  as  its  own.  My  heart  tells  me  that 
it  can  not  give  you  enough  to  accept  your  great 


io6  THE  MYSTERY  OF  BEACON  HILL 

devotion,  and  in  justice  to  you,  I  will  not  let  you 
waste  a  love  as  grand  as  yours  upon  an  altar  whose 
fires  have  burned  to  the  cinders  and  whose  ashes 
speak  of  a  love  that  knew  no  bounds.  {Pleadingly.) 
Forgive  me,  if  I  seem  ungrateful  to  the  honor  you 
do  me,  but  I  think  I  like  you  too  much  to  let  you 
sacrifice  your  splendid  manhood  upon  one  so  un- 
worthy. 

Jack 

But  give  me  some  hope.  Wait  till  you  get  across 
the  waters,  where  new  life  beckons  you  both.  Say 
you  will  let  me  hope? 

Mrs.  Page 

Doesn't  my  past  hold  any  fears  for  you? 
Jack 

It  holds  a  picture  of  a  woman  who  loved  and  was 
loved.     Who  rose  above  sorrow,  with  another  and 
holier  affection,  a  mother's  love.     I  have  all  admira- 
tion for  you,  I  love  you  with  my  whole  being! 
Mrs.  Page 

I  shall  be  gone  two  years.  Jack,  and  if  when  I 
come  back, — 

Jack 

And  when  you  come  back  and  land  on  the  wharf 
in  New  York  City,  Jack  Putnam  will  be  there  to 
meet  Dick's  wife  and  hdhy.  {He  stoops  and  kisses 
her  hand.  She  partially  turned  away,  he  holds  her 
hand  while  making  the  speech.) 
Mrs.  Page 

{She  turns  suddenly.)  You  do  love  me!  {Going 
tozvard  him.)  Come  with  Dick's  wife  and  baby 
now!      {Rushes  into   his  arms.) 

CURTAIN  ON  CLINGING  SCENE 


DOLLY  MADISON'S  AFTERNOON  TEA 


STAGE  SETTING 

The  furniture  of  a  lady's  boudoir.  At  upper  left 
a  small  table  where  card  tray  stands,  also  bouquet  of 
flowers.  Next  a  piano  and  in  front  of  piano  two 
chairs.  Back  of  entrance  at  right  back  is  a 
small  lady's  desk.  Center  back  a  small  sofa  and 
cushions.  To  left  of  sofa  the  tea-table.  Side  left  a 
mantel  and  upper  left  a  chair.  The  chairs  and  sofa 
form  a  circle  and  there  is  room  at  back  for  Gretchen 
to  pass  to  desk,  tea-table  and  mantel  without  cross- 
ing in  front  of  the  afternoon  callers. 


CHARACTERS 

Dolly  Madison,  Wife  of  the  President  of  the 
United  States. 

Pauline  Doystofsy,  a  Russian  Countess,  Tal- 
ented and  very  gay. 

Mrs.  John  Mills,  Wife  of  the  Brigadier-Gen- 
eral of  the  U.  S.  Army. 

Mrs.  John  Garfield,  Wife  of  Secretary  of  State 
U.  S.  A. 

Gretchen  Peer,  Private  Secretary  to  Mrs. 
Madison. 

Jenny  Green,  a  Maid  in  the  White  House. 


SCENE 

A  private  sitting  room  in  the  president's  mansion. 
PROPERTIES 

Furniture  of  a  drawing  room,  with  a  tea-table  in 
readiness.     Cakes  and  bon-bons,  etc. 

TIME 

When  Dolly  Madison  was  Mistress  of  the  White 
House. 

PLACE 

Washington,  District  of  Columbia. 
Scene  opens  in  the  afternoon  with  Gretchen  Peer 
and  Jenny  talking. 

COSTUMES 

Powdered  hair.  Colonial  frocks  and  large  fans. 


Dolly  Madison's  Afternoon 
Tea 

DISCOVERED 

{Jenny  is  dusting  the  chairs  and  furniture,  while 
Gretchen  is  adjusting  the  tea  things.) 
Jenny 
Is  this  to  be  a  big  company,  this  afternoon,  Miss 
Gretchen  ? 

Gretchen 
No,  just  a  few  of  Mrs.  Madison's  close  friends. 

Jenny 
I  see  there  is  a  bundle  of  music  on  the  piano, 
does  it  belong  to  the  Russian  Countess? 
Gretchen 
{Goes  to  piano,  opens  the  roll  of  music,  glances 
it    over   then    comes    back   front.)      Yes    it    is    the 
countess'.     {Looks  troubled.) 
Jenny 
{Looking  at   Gretchen  carefully.)      What  trou- 
bles you? 

Gretchen 
{Startled.)     Oh  nothing.     {Rubs  her  hands  and 
goes  to  tea-table  and  picks  up  several  cards.) 
Jenny 
Yes  there  is,  and  it  is  all  over  this  wonderful 
Russian  lady  which  my  mistress  has  taken  such  a 
fancy  to. 

Gretchen 
Jenny,  you  must  not  prattle,  I  must  forbid  you. 

Jenny 
Oh  you  know  I  would  not  mention  this  to  any 
III 


112  DOLLY  MADISON'S  TEA 

one  but  you.  And,  Miss  Gretchen,  I  heard  the 
master  ask  the  mistress  this  morning  at  breakfast, 
if  she  were  going  to  be  able  to  remove  the  prejudice 
which  certain  ladies  have  against  her,  and  she  said 
she  was  trying  hard. 

Gretchen 

Dear  Mrs.  Madison,  she  is  such  a  sweet  friend 
to  everyone.     She  could  never  hurt  any  body. 
Jenny 

Unless  in  fun,  but  she  does  like  to  laugh.  I  think 
that  is  why  she  likes  the  Russian  countess,  she  makes 
my  mistress  laugh. 

Gretchen 

This  countess  is  a  most  superior  person  and  only 
a  few  old  women  say  unkind  things.     Dear  me,  I 
hope  Mrs.  Madison  won't  hear  them! 
Jenny 

{Down  front,  strikes  a  threatening  attitude  with 
duster. )     I  hope  she  does.    Then  she  will  be  so  mad 
that  she  will  cut  out  old  Mrs.  General  Mills. 
Gretchen 

Jenny,  how  you  talk!      {Comes  near  Jenny.) 
Jenny 

I  hate  that  old  paint  box.  She  asks  me  questions ! 
I  like  some  cats  but  not  her  kind.  ( Gretchen  throws 
up  hands  in  astonishment.)  She  was  waiting  for  my 
mistress  last  week  and  came  close  to  me  and  asked 
''does  the  President  still  kiss  Mrs.  Madison?"  and 
I  told  her  "Yes,  he  lets  the  waffles  get  cold  kissing 
her  when  she  comes  down  to  the  breakfast  table." 
And  you  know  all  Washington  know  how  the  Presi- 
dent do  love  his  waffles.  {She  strides  and  laughs.) 
Ha!  ha!    You  should  have  seen  her  face. 


DOLLY  MADISON'S  TEA  113 

Gretchen 
{Terribly  amused  but  tries  to  conceal  it.)     Well 
what  else  has  she  asked  you? 
Jenny 
She  asked  if  my  mistress  ever  scolded  me,  and  I 
said  "Law  no,  she's  a  thoroughbred,  she  isn't  one 
of  the  Army,"  then  I  walked  out. 
Gretchen 
Dear  little  Dolly  Madison,  with  heart  so  big  and 
light  that  gossip  nor  malice  can  reach  it. 
Jenny 
Is  the  room  all  right  Miss  Gretchen? 

Gretchen 

{Looks  around.)      Yes  I  think  everything  is  in 
readiness,  I  will  ring  for  the  tea  when  the  ladies 
arrive.  And  Jenny  {Puts  fingers  to  lips.)  remember. 
Jenny 

{Nods  head,  crosses  heart.)      Sure,  anything  for 
pretty   Mistress   Madison.     But   I   can't  help   dis- 
liking Mrs.  Mills.     {Goes  out.) 
Gretchen 

{Takes  cards  from  table  and  puts  them  on  piano.) 
What  a  number  of  cards  for  one  day.  {Goes  out.) 
{Bell  rings.) 

Jenny 

{Comes  in  fixing  her  bow  before  mirror,  bell 
rings  long  again.)  That  sounds  like  Mrs.  Mills 
ring.  Well  let  her  wait  till  I  eat  this  cake. 
{Jenny  eats  a  cake  she  takes  from  table.  In 
her  haste  she  chokes  and  struggles  to  get  it  down, 
finally  swallows  it  and  goes  to  door.)  {Outside 
there  is  scolding  and  voices  are  shrill  and  loud. 
Jenny  backs  in  holding  the  card  case  high   before 


114  DOLLY  MADISON'S  TEA 

her  face  and  Mrs.  Mills  follows  closely  shaking  her 
finger  at  Jenny.) 

Mrs.  Mills 

I  shall  report  your  Impudence  to  the  President, 
girl,  do  you  hear  {Fanning  herself  very  fast,  looks 
ugly  at  Jenny.) 

Jenny 

{Bows  low  before  Mrs.  Garfield,  who  accom- 
panies Mrs.  Mills.)  I  shall  tell  my  mistress  you 
are  here.  {Tosses  head  high  as  she  passes  Mrs. 
Mills,  when  at  door  turns  and  asks  Mrs.  Mills.) 
Are  you  present  or  angry?  {Darts  out.) 
Mrs.  Mills 

{Closes  fan  and  taps  it  angrily  on  the  arm  of 
her  chair.)  I  tell  you  Mrs.  Garfield,  servants  re- 
flect the  manners  of  their  mistress, — br-r-rh! 

Mrs.  Garfield 
Oh  no,  my  dear  Mrs.  Mills,  Mrs.  Madison  is 
just  a  sweet  child,  she  is  imposed  upon  by  strong 
willed  servants.     Dolly  is  a  dear. 

Mrs.  Mills 
Well  I  know  she  is  a  great  burden  to  the  Presi- 
dent. 

Mrs.  Garfield 
Oh  no,  my  dear,  Mr.  Garfield  says  she  is  the  angel 
jf  the  administration. 

Mrs.  Mills 
Tut!  Tut!  my  dear.  These  young  men  have 
lost  their  heads  and  will  soon  lose  their  hearts  to 
this  dashing  mistress  of  the  White  House.  Be  care- 
ful my  dear,  watch  your  husband  every  moment. 
I  keep  a  close  guard  on  the  General  and  he  Is  no 
longer  young  or  handsome  either  like  yours. 


DOLLY  MADISON'S  TEA  115 

Mrs.  Garfield 
{Handkerchief   to   eyes.)      Well   it   is   not   dear 
Dolly's  fault  because  she  is  pretty  and  witty,  and 
I  am  plain.     But  I'll  take  your  advice  and  watch. 

Mrs.  Mills 
It  is  this  way,  she  needs  a  strong  hand  to  guide 
her,  and  the  President  is  so  head-over-ears  in  love 
with  her  that  he  encourages  her  in  her  folly. 
Mrs.  Garfield 
Oh  dear,  I  wish  I  were  handsome!     But  John 
does  love  our  children. 

Mrs.  Mills 
Yes,  yes  my  dear,  but  these  men  should  seek  other 
diversion  than  dancing  attendance  on  the  President's 
wife.  Mr.  Madison  merely  pinches  her  ears  and 
pats  her  cheeks  and  says  ''Now  be  good,  my  dear!" 
Think  of  it.  And  this  Russian  woman.  Oh,  they 
are  all  crazy  about  her. 

Mrs.  Garfield 

But  don't  you  think  since  Mrs.  Madison  has 
taken  her  in,  that  it  is  unwise  for  us  not  to  be 
cordial  ? 

Mrs.  Mills 

{Aghast.)  I  should  say  not.  Never  shall  I  bring 
up  the  rear  for  a  foreigner.  She  must  be  kept  in  the 
background  and  I  intend  to  show  my  feeling  in  this 
matter.  {Walks  to  piano  and  straightens  up  as  she 
catches  a  glimpse  of  her  husband's  card  and  that  of 
the  Countess  Doystofsy  on  the  plate.)  Oh! — O — 
h-Oh!  {Mrs.  Garfield  reads  the  cards  as  Mrs. 
Mills  flourishes  them  in  the  air.) 
Mrs.  Garfield 

{Reads  them.)     Your  husband  and  the  Countess! 


ii6  DOLLY  MADISON'S  TEA 

{Gretchen    comes   in.     Both   ladies   are   glaring  in 
astonishment  at  the  cards.     She  takes  in  situation 
then  walks  straight  to  table  which  gives  Mrs.  Mills 
a  chance  to  throw  cards  back  on  plate.) 
Mrs.  Mills 
{Coming  forward.)     Looking  for  anything,  Miss 
Peer?     {Very  pointedly.)     They  are  there!  {Point- 
ing to  cards  with  wave  of  fan.) 
Gretchen 
No,  I  was  looking  for  something.    Mrs.  Madison 
dropped  her  thimble.     {Looks  at  them  both  suspici- 
ously.) 

Mrs.  Mills  and  Mrs.  Garfield 
{Mockingly.)    Too  bad!    {Miss  Peer  tosses  head 
and  goes  oi(t.) 

Mrs.  Mills 
Shocking. 

Mrs.  Garfield 
Awful. 

{A  peal  of  laughter  is  heard  outside.)  ("^Oh  1 
FORGOT  DEAR  GrETCHEN.  I  PROMISE^  NEVER^ 
AGAIN.^') 

Mrs.  Mills 

{Enter  Dolly  Madison.)  How  do  you  do  Dolly. 
Dolly 

Oh  my  dear,  {Places  a  kiss  on  Mrs.  Mills  cheek.) 
forgive  me  for  being  late.  {Goes  to  Mrs.  Gar- 
field, kisses  her.)  How  sweet  you  look.  {Turns 
to  Mrs.  Mills.)  And  Mrs.  Mills,  you  wore  my 
favorite  color.  Believe  me  dears,  I  love  you  both. 
Sit,  and  tell  me  what  you  are  both  doing  these  days. 
{To  Mrs.  Garfield.)     How  are  the  children? 


DOLLY  MADISON'S  TEA  117 

Mrs.  Garfield 
Very  well  indeed.    And  you,  how  are  you  stand- 
ing the  season? 

Dolly 
I  am  rather  tired,  and, — 

Mrs.  Mills 
Yes,  yes —     (Expectantly.) 
Dolly 
A  little  tanned  and  freckled.    And  do  you  know 
that  I  had  quite  an  accident  yesterday, — well  nearly. 

Mrs.  Garfield. 

Why,  no.     What  was  it? 
Dolly 

Well  I  turned  my  ankle  a  bit  while  out  walking 
near  here. 

Mrs.  Mills 

Haw  did  you  manage  to  get  home?    Were  you 
alone  or  was  the  President  with  you? 
Dolly 

Oh,  dear  no,  Mr.  Madison  can't  leave  the  politi- 
cians. And  they  won't  leave  him  alone  unless  T 
take  them  for  a  walk.  So  I  captured  one.  (Hand 
to  brow.)  Let  me  see, — u-m — u-m,  oh  yes  it  was 
your  husband  Mrs.  Mills,  Gen.  Mills.  (Ladies 
exchange  significant  looks.)  We  were  chatting  and 
having  a  nice,  sweet,  quiet  walk,  when  a  dear  little 
white  kitten  ran  along  the  path.  I  started  to  nm 
after  the  flulify  thing  (Both  ladies  look  horrified.) 
and  my  foot  caught  in  my  ruffles,  and  I  tumbled  in 
a  heap  on  the  green.  The  President  saw  it  from 
the  window  and  he  told  me  this  morning  that  he 
did  not  know  which  of  us  looked  the  most  like  a 
fleece  of  wool,  myself  or  the  kitten.     Do  you  know, 


ii8  DOLLY  MADISON'S  TEA 

Gen.  Mills  never  laughed!  {Turns  to  Mrs.  Mills.) 
Don't  you  ever  let  him, — er — um — I  mean  don't  you 
ever  laugh, — no,  no,  I  mean,  don't  you  ever  do  or 
say — Oh,  don't  you  ever  do  a  silly  thing  at  your 
house?  {Turns  in  distress  to  Mrs.  Garfield.)  Oh, 
say,  of  course  you  do  foolish  things  at  your  house, 
you  are  young, — I — I  mean  you  have  children.  Now 
there  I've  said  it. 

Mrs.  Garfield 
Oh  indeed,  yes  we  do.    When  John  comes  home 
from  the  office  we  often  go  to  the  nursery  and  he 
rides  the  children  on  his  back,  and  once  they  insisted 
upon  our  playing  fire  and  I  climbed  up  a  tall  ladder 
and  so  did  John.     {Dolly  claps  her  hands.) 
Dolly 
Bravo!     Bravo!     Oh  Mrs.  Garfield,  do  send  for 
me  the  next  time  you  play  fire  laddies.     {Mrs.  Mills 
coughs.)     What  do  you  play  at  your  house? 
Mrs.  Mills 
We  are  sensible  people  at  my  house.     Yes,  quite 
sensible.      {Dolly   all   the   time   bows   her   head  at 
the  old  woman  s  emphatic  words.)     There  has  got 
to  be  a  sane  center  somewhere  or  this  nation  would 
go  to  the  bow-wows  with   the   Madisons  steering 
the  ship.     I  mean  that  your  husband  is  a  sensible 
far-seeing  man  and — 

Dolly 
Yes,  yes.     Now  how  much  longer  does  your  hus- 
band serve.     How  is  he  appointed? 
Mrs.  Mills 
Why  the  President  is  commander-in-chief  and  my 
husband — is — is  nominally  under  the  President. 


DOLLY  MADISON'S  TEA  ug 

Dolly 

{Pursing  up  lips.)  I  think  I'll  talk  with  Mr. 
Madison  about  the  army.  {Pointedly.)  I'd  like  to 
take  an  interest  in  the  army. 

Mrs.  Garfield 

Of  course,  the  President  will  try  to  interest  you 
in  it,  because  your  best  and  oldest  friends,  the  Gen. 
and  Mrs.  Mills  are  there.  {Mrs.  Garfield  nods 
to  Mrs.  Mills.) 

Mrs.  Mills 

Of  course  anything  that  the  General  or  myself 
can  do  for  you  my  dear,  Dolly,  we  are  always  at 
your  service.  {She  comes  closer  to  Dolly.)  I  do 
hope  the  General  was  quick  to  relieve  the  pain  of 
your  ankle  yesterday? 

Dolly 

Goodness  no,  he  called  my  friend  Countess  Doy- 
stofsy  who  was  coming  down  the  street  and  she 
assisted  me  home.  Isn't  she  charming?  By  the  way 
she  promised  to  drop  in  for  a  cup  of  tea  on  her  way 
home  from  the  Embassy.  She  is  the  rage  of  the 
season.  You  both  like  her  of  course, — 
Mrs.  Garfield 

Yes,  I  think  I  will,  I  have  met  her  but  once  and 
then  for  only  a  moment.  She  is  much  discussed. 
The  ladies  do  not  seem  to  praise  her  so  much  as 
the  gentlemen.     Why? 

Dolly 

It's  because  the  men  have  sense.  That  is, — I 
mean  they  appreciate  wit  and  beauty  and  art — 
{She  looks  frightened  as  she  turns  from  one  lady 
to  the  other.)  Well  you  know  of  course  she  plays 
the  most  beautiful  music,  she  is  talented,  a  real 
genius. 


120  DOLLY  MADISON'S  TEA 

Mrs.  Mills 
But   my   dear,    are   all   the   ladies   in   our  circk 
receiving  this  extraordinary  young  lady? 
Mrs.  Garfield 
Now,  Dolly,  do  you  think  we  ought  to  receive 
her? 

Dolly 
Ought  to?    Why  you  must;  oh  I  say,  what  posi- 
tion does  your  husband  hold? 

Mrs.  Garfield 
Oh  my  dear,  it  makes  no  difference,  I  shall  do  as 
you  wish.     I  believe  you  are  right  in  standing  for 
this  young  woman. 

Dolly 
Now  that's  right,  be  sensible.  It's  catty  to  be 
unkind.  Why  she  needs  no  one  to  receive  her  or 
protect  her.  She  is  a  genius.  She  can  go  anywhere, 
her  world  is  bounded  by  the  horizon  and  the  zenith 
above.     My,  how  I  envy  her. 

Mrs.  Mills 
But  my  dear,  she  is  so  different,  she  is — 

Dolly 
Yes  exactly.     That's  why  I  like  her.     She  has 
beauty,  talent,  fine  manners,  wit  and  joy  within  her. 
Oh!  I  quite  love  her,  my  dears.     (Bell  rings.)  Here 
she  is  now. 

(Enter   Gretchen    carrying  violin   and   Countess 
Doystofsy.) 

Countess 
My  dear  Mrs.   Madison,  how  are  you  to-day? 
How  is  the  foot?     (Kisses  Dolly.) 
Dolly 
Oh,  I'm  ripping.    You  know  the  ladies, — 


DOLLY  MADISON'S  TEA  121 

Countess 
Oh  yes,  indeed.     How  do  you  do  Mrs.  Mills. 
My  what  an  excellent  likeness  that  was  of  you  on 
the   Society   page  yesterday.      Oh,    Mrs.    Garfield, 
how  delighted  I  am  to  see  you.     {She  shakes  hands, 
high,  with  both  ladies.)    Wasn't  Mrs.  Mills  picture 
splendid.     Did  you  see  it,  Dolly? 
Dolly 
Yes  it  was  a  fine  picture  of  some  lady,  was  it  you  ? 
{To  Mrs.  Mills.) 

Countess 
Now  Dolly,  you  have  your  teasing  mood  on,  you 
shall  not  have  any  music  if  you're  not  good.  {Mrs. 
Mills  sits  beside  Mrs.  Garfield.) 
Mrs.  Garfield 
I  thought  it  a  most  beautiful  picture.    Were  you 
at  Mrs.  Thurlow's  tea,  Countess? 
Countess 
No,  I  was  not  invited,  I  do  not  know  the  wife  of 
your  Secretary  of  War. 

Mrs.  Mills 
{Aside.)     What  did  I  tell  you! 

Dolly 
Well,  I'll  have  her  call  on  you.     {Mrs.  Garfield 
and  Mrs.   Mills  look   at   each   other  behind   their 
fans.)      {Dolly  aside  to  the  Countess.)     Keep  cool 
they'll  come  around  all  right. 
Gretchen 
Will  you  have  tea  now,  Madam?     {Addressing 
Dolly.    She  has  been  seated  at  the  desk  in  the  rear.) 
Dolly 
Yes  ring  for  the  tea  things  and  make  it  Gretchen. 
{Gretchen  rings  and  Jenny  brings  in  kettle  of  wa- 


122  DOLLY  MADISON'S  TEA 

ter.  She  purses  up  her  lips  at  Mrs.  Mills.)  Come 
over  here  Countess  and  take  this  chair.  {The 
Countess  moves  to  Dolly's  side.) 

Mrs.  Mills  to  Mrs.  Garfield  as  Dolly  pretends 
to   examine  the   Countess*  fan.) 
Mrs.  Mills 
Isn't    it    terrible    the    way    Dolly    favors    this 
Countess. 

Mrs.  Garfield 
Oh,   let  her,   anything   to  amuse  her.      Do  you 
think  she  will  ask  for  our  husbands'  resignations? 
{Tea  is  served.) 

Mrs.  Mills 
Oh,  Countess,  I  heard  a  nobleman  praising  your 
music  at  the  dinner  of  the  English  Ambassador  last 
evening. 

Mrs.  Garfield 
Oh  yes,  he  said  it  rivaled  your  beauty  too. 

Dolly 
{Grimaces  behind  her  fan  addressing  Mrs.  Mills.) 
My  dear,  if  there  is  anything  in  this  city  to  rival 
your  portrait  I  shall  be  astonished!!     {Puts  her  foot 
on   the  Countess*.) 

Mrs.  Mills 
Yes  the  General  is  quite  delighted  with  it.  ( Takes 
sugar  from  table.) 

Countess 
{Aside.)     Dolly,  stop  kicking  me.    I  shall  die. 

Mrs.  Garfield 
{Askance   at   Dollys   feet.)      Won't   you    play, 
Countess?  {Mrs.  Garfield  returns  tea-cup  to  table.) 
Countess 
What  shall  it  be.      {Rises.)     Anything  in  par- 
ticular? 


DOLLY  MADISON'S  TEA  123 

Mrs,  Garfield 
What  is  your  favorite,  Mrs.  Mills? 

Mrs.  Mills 
Well  nothing  Polish  or  Russian.    Let  mc  think — > 

Countess 
(Sneeringly.)      Don't  you —     (Dolly  grabs  her 
and  in  an  aside.) 

Dolly 
{Aside.)     Not  a  word.     Play  something  to  melt 
the    hearts    of    beasts.       {Countess    rises,   goes   for 
violin.) 

Mrs.  Garfield 
Did  you  speak,  Dolly? 

Dolly 
Yes,  I  just  reminded  the  Countess,  that  it  was 
the  Greeks  idea  to  have  music  tame  wild  beasts. 
{She  looks  innocently  from  Mrs.  Garfield  to  Mrs. 
Mills.)      Play,    Countess. 

Countess 
Dolly,  can  you  accompany  me?      {Dolly  shakes 
head.)      No,  can  you,   Gretchen?     {Gretchen  goes 
to  piano.)     Oh,  too  bad.     {Looks  at  Dolly.) 
Dolly 
No,  I  never  could  practice,  so  I  can't  play  a  bit. 
Mr.  Madison  thinks  my  "Beulah  Land"  quite  thril- 
ling though.    {Mrs.  Garfield  and  Mrs.  Mills  look 
at  Dolly  and  shake  their  heads  in  pity.)      {Dolly 
mockingly.)     Isn't  it  awful! 
Countess 
{Tuning  up  at  piano,  talks  as  she  turns  keys.) 
Oh,  Dolly,  do  you  remember  the  last  time  I  played 
with    you?      {Both    giggle.)      Gracious,    I    never 
thought  we  would   get  home  without   being   dis- 
covered. 


124  DOLLY  MADISON'S  TEA 

Mrs.  Mills 
Why,  my  dear  Dolly,  was  there  anything  to  con- 
ceal?    {Breathless.) 

Dolly 
Well,  the  Countess  did  not  look  very  bad,  but  I 
was  a  sight!     My  dress  was  torn  and  muddy  and 
my  hair  all   rough   and   my  temper  was  bursting. 

Mrs.  Mills 

Shocking,  Dolly,  shocking.     {Aside  to  Mrs.  Gar- 
field.)    And  the  President's  wife.     {Fans  hard.) 
Countess 

Oh  no  one  saw  us  after  the  carriage  pitched  over 
in  the  mud.  Then  we  went  into  the  cottage  of  an 
old  negress  who  knows  Dolly.  She  gave  us  clothes 
and  we  disguised  as  two  old  negresses,  and  drove 
right  by  the  Capitol.  We  bowed  to  all  the  people 
we  knew.  They  did  not  know  us  and  it  was  so 
funny  to  see  their  cross  faces  when  we  saluted  them. 
I  think  Gen.  Mills  cussed  a  little.  {Dolly  and 
Gretchen  and  Countess  laugh.) 
Mrs.  Mills 

Quite  right,  but  Dolly,  did  you  tell  Mr.  Madi- 
son? 

Dolly 

Of  course.  He  said  I  made  a  good  darkey.  But 
Countess,  do  play. 

Countess 

I  shall  play  the  favorite  of  the  First  Lady  in 
the  Land.  {Makes  low  bow.)  "Love's  Homage," 
to  Mistress  Dolly  Madison.  {She  plays.  The 
ladies  applaud  and  cry  "more'*  and  she  plays  another 
selection.) 


A'^'^^-ir'^ 


DOLLY  MADISON'S  TEA  125 

Mrs.  Garfield 
Thank  you,  Countess.    Your  art  is  nothing  short 
of  genius. 

Countess 
Oh  you  quite  overcome  me. 

Mrs,  Garfield 
And  now  Dolly,  (Rises.)  I  would  like  to  give  a 
dinaer   for   the   Countess,    how   would    two   weeks 
from  this  evening  do?     Have  you  anything  for  that 
time? 

Dolly 
Gretchen  please,  look  up  my  engagements.  ( Gret- 
chen  takes  small  note  book  from  reticule  and  rising^ 
comes  to  Dolly.) 

Gretchen 
No,  madam,  you  have  no  dinner  engagements. 

Dolly 
The  day  is  suitable. 

Mrs.  Garfield 
{Shakes    hands,   says   ''Good   bye'*    to    the   three 
ladies,  as  she  passes  Mrs.  Mills  she  speaks.)  {Aside.) 
Remember  your  husband's  job.  {Stands  near  door.) 

Mrs.  Mills 
And  now  Countess  I  have  been  thinking  of  giv- 
ing an  afternoon  soiree  and  I  want  you  as  my  honor 
guest.      How   will   three   weeks    from   to-day   suit 
you,    Dolly? 

Dolly 
Quite  well.    I  have  no  appointments,  for  that  day. 
Will  the  gentlemen  also  be  invited? 

Mrs.  Mills 
Of  course,  they  shall  have  the  privilege  to  come. 
And  now  my  dear  Countess,  good-bye,  so  glad  to 


126  DOLLY  MADISON'S  TEA 

have  had  this  delightful  hour.  {Kisses  her  on  the 
brow,  which  she  wipes  off  as  Mrs.  Mills  kisses 
Dolly.)     Drop  in  soon,  Dolly  dear. 

Dolly  and  Countess 

Good-bye.  Good  bye.  {They  call  back  ''Good- 
bye/") 

Dolly 

Well  either  my  threats  or  your  music  tamed  them. 
But  the  way  is  clear  now,  {With  a  flourish  of  fan.) 
they  are  the  worst  and  we've  won  them.  Isn't  it 
fun! 

Countess 

Jolly  good  fun.    My,  I  was  so  anxious! 
Dolly 

I  was  too.  Oh  Gretchen,  make  another  cup  of 
tea.  Strong,  Gretchen,  good  for  tired  nerves.  ( Gret- 
chen goes  to  tea-table.)  And  Countess,  play  while 
I  recline,  and  I'll  try  to  forget  politics  and  what 
Mrs.  Mills  and  Mrs.  Garfield  think  of  me.  {Yawns, 
lies  on  sofa.  Countess  begins  soft  music.  Prefer- 
ably "Wild  Rose.""  Gretchen  is  fussing  at  tea- 
table  and  Dolly  turns  on  sofa  face  to  audience  and 
closes  eyes.) 

SLOW  CURTAIN  AS  MUSIC  CONTINUES 


THE  DAWN  OF  MUSIC 
A  MUSICAL  ACT  FOR  THREE  PEOPLE 


PREFACE 

This  is  a  wordless  drama  but  I  have  endeavored 
to  have  its  story  told  with  the  aid  of  music,  and 
upon  the  violin, — the  instrument  best  suited  to 
reach  the  subtle  and  varied  feelings  of  the  race. 

A  word  of  explanation  about  the  suggested  com- 
positions to  be  used  in  the  drama  may  be  ncessary. 
In  choosing  pieces  to  express  the  emotions  in  the 
drama,  the  selection  that  would  convey  pathos,  for 
instance,  to  one  person,  might  mean  sorrow  to  an- 
other. Or  a  selection  might  express  fear  to  one 
individual  and  repentance  to  another.  All  the  pieces 
will  be  modified  by  the  attitude  in  which  they  are 
approached.  Our  beautiful  Rocky  Mountains  im- 
press some  who  gaze  upon  them  with  a  feeling  of 
sublimity,  and  exclamations  of  joy  follow.  While 
to  others  they  convey  a  feeling  of  loneliness  and 
dread.  It  is  due  to  the  mood  in  which  they  are 
approached. 

It  seems  to  me  that  music  suggests  emotions  not 
easily  analyzed  and  classified;  moreover,  few  com- 
positions express  one  emotion  only  for  any  length 
of  time.  I  am  inclined  to  think  of  Music  as  Ruskin 
did  of  Art, — "Indeed,  it  is  not  easy  to  be  accurate 
in  an  account  of  anything,  however  simple."  The 
important  thing  in  making  the  selections  is  not 
whether  we  choose  pieces  that  arouse  the  same  feel- 


128  PREFACE 

ings  in  all  people,  rather,  do  they  give  to  all  people 
real  pleasure. 

I  wish  to  express  my  gratitude  to  the  Denver 
violinists  who  have  so  kindly  discussed  the  various 
pieces  of  music  with  me,  while  I  was  making  my 
judgments. 

Denver,  Colorado,  July  loth,  191 2. 


THE  DAWN  OF  MUSIC 

CHARACTERS 

The  Divinity,  the  Goddess  of  Music. 
Ermillina,  the  discontented  child  of  music. 


TIME 

Long,  long  ago,  when  the  World  was  young  and 
Music  very  old, 

PLACE 

In  the  World  of  Music,  at  the  home  of  the 
Divinity  of  Music. 

COSTUMES 

Flowing,  soft  robes  of  white,  and  flowers  in  their 
flowing  hair, 

PROPERTIES 

A  piano  behind  screens  of  vines  and  flowers  on 
left  rear,  where  accompanist  may  be  seen  by  the 
violinists  as  they  come  down  the  rocky  mountain 
path  from  the  Grotto  or  {Home  of  Music.) 

Colored  lenses  to  give  the  various  shades  of  sun- 
rise— {Pink,  purple,  yellow  and  all  tones  of  a  beau- 
tiful sunrise.) 

Autumn  leaves. 

Back  drop.  Represents  the  side  of  a  mountain 
covered  with  vines  and  climbing  shrubs  and  flowers. 
Opening  or  door  to  Grotto.  Steps  leading  down  to 
the  left  side  of  stage. 

Moss  mats  on  floor  of  stage. 


The  Dawn  of  Music 

PLOT 

Ermillina,  a  fairy  violinist,  who  has  tired  of  the 
world,  withdraws  to  the  home  of  the  Divinity  of 
Music.  She  has  lived  here  for  ages  and  has  given 
her  music  to  the  world  about  her  and  has  played 
for  the  fairy  folk  who  have  lived  unseen  in  the 
World  of  Melody  and  Song.  After  ages  with  the 
Goddess  of  Music,  discontent  seizes  her  and  she 
throws  off  the  bondage  and  determines  to  return  to 
the  Material  World  and  its  frivolities.  She  rushes 
away  but  does  not  go  far  when  darkness  overtakes 
her  and  the  Discords  of  the  Material  World  frighten 
her.  She  expresses  her  fears  of  the  strange  world 
thru  her  trusty  violin.  Her  wild  appeals  for  aid 
attract  the  Goddess  of  Music  who  comes  to  meet  the 
erring  Ermillina  with  open  arms.  With  heart  burst- 
ing with  joy  the  Child  of  Music  returns  to  the 
Music  World  and  vows  never  to  leave  it, — but  live 
only  to  give  Song  and  Joy  to  the  Music  World 
forever. 

Scene  and  story  of  the  drama  as  interpreted  by 
music. 

Rude  vine  covered  grotto  in  the  side  of  a  moun- 
tain, where  roses  and  sweet  pea  vines  and  jasmine 
flowers  hang  over  the  doorway.  A  rocky,  mountain 
path,  leads  down  gently  to  left  rear.  Moss  covers 
the  ground  and  stairway.  It  is  not  daybreak  but 
the  song  and  twitter  of  birds  are  heard  and  the  rosy 
glow  of  sunrise  floods  the  stage,  which  in  turn  is 
131 


132  THE   DAWN   OF  MUSIC 

followed  by  shades  of  purple  and  pink  and  gold, 
lastly  a  fiery  red.     Strains  of  music  are  heard  from 
the  grotto  telling  of  distress  and  violence.     Sudden- 
ly the  angry  piece  is  finished  with  a  master  stroke 
of  bows  and  a  young  girl  rushes  out  of  the  grotto 
carrying  a  violin.     She  stops  a  moment  outside  the 
door  then  strikes  up  the  music  of  {de  Beriot's  Con- 
certo No.  VII,  First  Movement,  expressing  Rebel- 
lion and  Discontent.)     She  plays  as  she  comes  down 
the  mountain  stairway.    At  the  same  time  the  God- 
dess of   Music  appears   at   the  doorway   stretching 
her  arms  appealingly  to  the  child  and  showing  great 
sorrow  at  the  breaking  away  of  the  Child  of  Music. 
Ermillina  reaches  the  center,  where  she  stops  and 
looks  back,  scornfully  shaking  her  head.     When  she 
finishes,    the    Goddess   of     Music    begins    a    thril- 
ling piece  {Massenet's  Meditation.  She  comes  down 
slowly  to  center  stage.)  then  it  rushes  into  the  plead- 
ing, insistent  bars   {Sextette  from  Lucia.)   and  Er- 
millina joins  in  the  playing  all  the  time  shaking  her 
head  "No."    Then  the  Goddess  plays  another  appeal 
{Bornsheins  Love's  Torment.)   expressing  fear  but 
this  does  not  change  Ermillina  who  longs  to  stay 
in  the  Material  World.     Ermillina  answers  with  a 
piece    {Expressing   freedom,    Vieutemp's    Gavotte.) 
and  joyously  skips  about  the  stage,  then  ofiF  stage 
at  right.     Disconsolate  the  Goddess  makes  one  more 
appeal    {Walters   Prize   Song  from   Die   Meister- 
singer.)  expressing  Love  and  Solicitude.     She  plays 
while  returning  to  Grotto  and  and  finishes  in  front 
of  Grotto.     The  last  chords  reach  the  erring  Er- 
millina  who    comes    on    stage    playing    {Tschaiko- 
w ski's  Andate  Cantabile  for  strings,  meaning  Re- 
pentance.)    She  starts  up  the  stairway.    When  half- 


THE   DAWN   OF   MUSIC  133 

way  turns  and  faces  audience  and  the  Goddess  faces 
down  stage,  and  stands  In  front  of  Grotto  door. 
The  Goddess  joins  in  the  piece  of  Tschaikowski. 
Both  seem  to  play  for  the  safety  of  Music  for  all 
ages, — for  mankind.  The  erring  Music  Child 
rushes  up  to  the  side  of  the  Goddess  of  Music,  who 
embraces  her  and  both  begin  {Arthur  Goofs  ''Morn- 
ing Song")  meaning  joy  at  the  return  of  the  erring 
child.  A  little  before  the  piece  is  finished  the  purple 
shadows  begin  to  lower,  followed  by  pink  and  gold. 
Ermillina  enters  the  Grotto  {Her  home, — the  Home 
of  Music)  while  playing  and  is  followed  by  the 
Goddess.  The  closing  strain  of  both  players  is 
heard  from  within.  The  soft  rosy  glow  of  sunrise 
enters  and  the  curtain  falls  on  {Mendelsohn  s  Finale 
from  Concerto  or  Grieg's  "To  Spring"  for  voice 
and  violin  and  the  orchestra.) 

CURTAIN 


AMERICAN   DRAMATISTS   SERIES 


A  series  of  plays  by  contemporary  American  aramatlsts; 
uniformly  bound  in   antique  boards,  each,  $1.00  net. 

THE    FL.OWEB    SHOP.  By    Marion    Craigr-Wentworth 

Play  in  three  acts,  dealing  with  woman's  suffrage. 
THE  MAN  YOU  liOVE.  By  Robert  A.   Kasper 

A  drama  of  to-day  in  four  acts. 
PUPPETS   OF  FATE.  By  Alice  Elizabeth  liavelle 

An  historical  drama  of  the  time  of  Napoleon,  in  four  acts 
and  a  prologue. 

THIRST.  By  Eugrene  G.  O'Neill 

Five  one-act  plays:  Thirst,  The  Webb,  Warnings,  Fog, 
Recklessness. 

THE  GIBIi  IN  THE  PICTURE.        By  Alexander  W.  Shaw 

A  farce  in  two  acts. 
SOME  PEOPLE   MARRY.  By   Robert  A.   Kasper 

A  drama  of  to-day  in  three  acts. 
A   MAN'S    WORI.D.  By    Rachel    Crothers 

Miss  Crothers'  famous  play  of  to-day,  in  three  acts. 
A  lilGHT  FROM  ANOTHER  WORIiD.    By  C.  H.  McGurrin 

A  dramatic  sketch  of  to-day,  in  one  act. 

THE   lilTTIiE   MOTHER  OF   THE   SliUMS. 

By   Emily   Herey    Denison 

Seven  One-act  Plays:  The  Little  Mother  of  the  Slums; 
Duped;  The  Yeggman;  The  Mystery  of  Beacon  Hill;  My 
Friend's  in  Town;  The  Dawn  of  Music;  Dolly  Madison's 
Afternoon  Tea. 

THE  JUDGE.  By  liouis  J.  Block 

A  play  in  four  acts,  founded  on  the  novel  of  Karl  Bmil 
Franzos. 

EVERYCHILD.  By   Beatrix   Reynolds 

A  fanciful  story  in  dramatic  form,  which  will  help  chil- 
dren to  understand  music. 

BIRDS  OF  A  FEATHER.  By  Thomas  Gaffney 

A  play  in  four  acts  with  a  prologue  and  an  epilogue. 


Richard  G.   Badger,   Publisher,   Boston 


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